Explore your areas chasing the sun!
Ever find yourself staring blankly out the window, a camera sitting idle nearby, and a nagging feeling of ‘what should I even shoot today?’ Yep, that’s photographer’s block, and it happens to the best of us.
Whether you’re a seasoned pro or just starting out, that creative slump can hit hard. One minute you’re brimming with ideas, the next you’re stuck in a rut, overthinking every possibility and talking yourself out of even picking up the camera. It’s like your creative energy has hit a brick wall, and even the most inspiring scenes outside your window seem…blah. Happens to me… a lot!
So how do we overcome it?
While the weather can certainly be a major factor in our photography plans (especially for those of us in notoriously unpredictable climates!), relying entirely on sunshine or storms can sometimes limit our creativity.
It’s easy to fall into the trap of thinking, ‘Oh, it’s raining, guess I can’t shoot today.’ But what if we saw those gray skies as an opportunity? Rainy days offer a unique mood and atmosphere, perfect for capturing reflections, dramatic light, and intimate portraits.
And even on those ‘perfect’ sunny days, stepping outside our comfort zones and challenging ourselves to find new perspectives can lead to unexpected and rewarding results. So, while the weather forecast might offer some guidance, let’s not let it dictate our creativity!”
Even when we’re eager to shoot, that nagging question lingers: ‘Where do I go?’ It’s easy to feel trapped by familiar surroundings, especially if we’re trying to avoid long journeys. The same old locations can lose their lust, and the thought of taking yet another photo of that same iconic landmark might feel like a waste of time and energy.
But here’s the secret. Even the most familiar places hold hidden gems waiting to be discovered. Instead of focusing on grand landscapes or popular tourist spots, try shifting your perspective. Explore the backstreets, look for intricate details, experiment with different angles and lenses. Challenge yourself to see your surroundings with fresh eyes.
Sometimes, the most unexpected and captivating photographs are found right under our noses.
My recent shoot
The other morning, I woke up to an unexpected sight. Brilliant sunshine streaming through my window. This was a delightful surprise, especially since the forecast had predicted a week of gloomy rain. It was one of those moments that makes you want to grab your camera and head straight out the door.
And that’s exactly what I did! With the sun shining brightly, I was immediately drawn to the idea of capturing strong contrasts. But as I started planning my route, a familiar feeling crept in. The sense of repetition, of revisiting the same old locations.
Determined to break out of my routine, I decided to try something different. Instead of focusing on the usual landmarks, I resolved to explore my local towns with a fresh perspective. And that’s when it hit me. why not look up?
To push myself even further, I loaded my Leica MP with a roll of ADOX HR-50, a film known for its fine grain and sharpness. But here’s the twist. I decided to shoot it at ISO 100 and extend the development time. Why? To amplify the contrast and create a truly dramatic look.
With my camera loaded and a vision in mind, I set out on my urban exploration. My mission. To find buildings bathed in sunlight, with deep shadows adding depth and intrigue. This simple constraint led me down unfamiliar paths and into hidden corners of my town, places I might never have noticed before.
As the afternoon sun descended, I followed its path, chasing the dramatic light and seeking out compositions that accentuated the contrast between light and shadow. By deliberately metering off the brightest areas of the buildings, I ensured that the shadows would fall into deep blacks, creating a striking visual effect.
All the time I was shooting I kept imagining I was going to frame three of my photographs as a collage on a wall in some swanky office or posh home. That helped me compose my shots.
Waiting for birds!
As I explored these sun-drenched streets, a new idea took hold. Wouldn’t it be amazing to capture a bird soaring through the frame, adding a sense of movement and life to these architectural compositions?
With this in mind, I found myself gazing skyward, camera poised, patiently waiting for the perfect avian cameo. Minutes ticked by as I stood there, neck stretched and crook, finger hovering over the shutter release. I’m sure I attracted some curious glances from passersby, but I was undeterred.
And then, it happened! A lone bird glided effortlessly through my frame. The most rewarding shots require patience, persistence, and a willingness to embrace the unexpected.
The Downside
I found there was only one downside to this project. The camera! Some scenes I was waiting ages in position for a bird to fly by which gave me a stiff neck after! Walking away from the shot rolling my neck in circular motions to loosen the stiffness. If I’m going to continue this as a project I feel I needed to change something. So the next day was another bright day but with less cloud! I went back out again early afternoon and chased the sun around a different town until it was so low it had stopped casting shadows.
I took with me a TLR camera. The Yashica MAT 124 G. And a roll of expired AGFA APX 100 from 2009 which had been in my fridge. This was a much better choice as I could hold the camera at waist level looking up! Unfortunately It was hard to find the birds to include in the photos. This town is more close to the sea so most of the seagulls are there.
The meter inside this camera works but there is no battery. So I used my Sekonic Meter in spot mode to take readings from the brightest part of the building. That would give me middle grey. So I took the reading and then over exposed by two stops. So if the meter read f22 I would shoot at F11. And it worked well. The APX didn’t give me that banging contrast that the ADOX HR50 did but still it’s hard.
Tempting as it was to try and encourage them to move, I knew it was important to respect their space and avoid causing them any distress. But I needed them in flight. Clapping my hands did the trick.
And the old Bingo Hall and Cinema as I was walking back toward my car.
Conclusion
So from thinking that I had shot everything in my area I realised there is so much more that can be done if you just get out and go for a walk with a plan in mind. My plan was simple. Look up at old buildings that are in the sunlight with the hope a bird comes along. Then of course I had the choice of camera, lens and film. I found the 50mm lens to be best. Anything wider wouldn’t have had such impact I felt.
I think this will make for a good collection of prints so going forward I would like to try this in other areas. But they have to be of interest such as these old buildings. At least for me!
And keeping the thought in mind of the photographs being printed and behind glass helps me along the way with composition.
From the two afternoons I was out, the sun falls in the UK around 3:30PM. So I had a small window. I think earlier the sun would have been higher up in the sky. With it being lower I found I was able to find more interesting contrasts. I would get the same in the morning but by being in the afternoon you are literally racing against the clock following the sun casting its light on buildings before it goes down.
Zenit B 35mm SLR Camera!
A Window into Soviet Camera History
Hey everyone! I recently received an amazing gift from Phil, a regular viewer of my YouTube channel – a classic Zenit B film camera. This beautiful piece of photographic history got me digging into the Zenit brand, and I discovered a fascinating story of Soviet-era camera production.
Phil purchased this camera back in the 1970s along with two lenses and he wanted it to go to someone that would use it and keep it taking pictures. He said he purchased it from his Brothers catalogue.
Zenit: A Legacy Forged in the USSR
What do I know about the Zenit brand? Not a lot! I’ve never even used one before OR had the thought of getting one! BUT… I knew of the brand. Who doesn’t? And when I received this camera my first impressions were “This thing is indestructible!”. I’ve yet to put a roll in the camera as I write this, and I do intend to feature it on the SFLaB channel and shoot the S**T out of it, as I always do! But without loading a film – so far so good. It works… And it’s MINT! Watch the Video Review Below.
With the good ole internet by my side I looked deeper into this cameras past. It’s quite a fascinating story.
Zenit has a reputation of robust, affordable, and undeniably “Soviet” 35mm SLR cameras. Born out of the Krasnogorsky Mekhanichesky Zavod (Say that after a few sherbets!) (KMZ) factory near Moscow. Zenit cameras were mass-produced to bring photography to the masses in the Soviet Union and beyond. According to most sources, approximately 889,617 Zenit B cameras were produced between 1967 and 1979. I guess a bit like the Praktica brand from Pentacon they were mostly sold in the Eastern Block but crept its way into Europe and beyond.
It all began after World War II. KMZ, originally an optics factory, was tasked with producing cameras. Their first model, the Zorki, was heavily inspired by the pre-war German Leica II. But it was in 1952, with the introduction of the Zenit, that the brand truly came into its own. This camera was based on the Zorki rangefinder and featured the M39 lens mount and a distinct FED/Leica design.
And it doesn’t surprise me that these cameras were inspired by the Leica II. Like the FED camera it features that spinning shutter speed dial, which I absolutely love! Be careful advancing. Some say to change the shutter speed after advancing. Others say before advancing. The manual states either way. There appears to be a lot of word of mouth about this rule so always try and download a cameras manual if you can to find the correct procedure.
The Zenit B: A Classic Refined
The Zenit B, gifted to me by Phil, is a slightly later model, produced from 1967 to 1979. It’s a refined version of the original Zenit, boasting several improvements:
(The serial number on the camera donates the year the camera was made by taking the first 2 numbers, in this case 1972).
Features:
- Shutter speeds from 1/60th to 1/500th of a second: Which is fine. I don’t need to slow down and I don’t need to speed up! Mostly I guess I will be in lighting conditions offering 1/125th.
- Attachment Shoe: (Not Hot)
- Flash sync Port: Enabling use of flash.
- Self-timer: A handy feature for self-portraits or group shots. And it works!
- Cloth shutter curtain: Like many of these style cameras the shutter curtain is cloth, or silk. Unlike the Pentacon SIX the curtain is protected from sun pinholes by the cameras mirror. Don’t leave the Pentacon Six pointed at the sun with the lens cap off! I found that out the hard way.
Even the inside back of the camera looks like it’s built to withstand anything. The film feeder spool does look a bit fiddly though!
- M42 lens mount: Zenit upgraded their cameras to the more popular M42 Mount Providing access to a wide range of affordable lenses. These are plentiful online and some at a very fair price. And there are dozens of classic cameras supporting the format. The Screw Version.
- Durable metal construction: Ensuring the camera could withstand the battering of everyday use. This thing feels indestructible! It’s heavy too weighting just over 800g.
- Simple, mechanical operation: Nothing fancy here at all. And possibly a perfect camera for those wanting to delve into photography, like many other old classics. No auto this and that. Just pure hands on photography. Not even a light meter! But at least you have TTL focusing!
- Frame Counter: This model features a DIY frame counter. Yup! You have to position it to frame 1 at the start of your film, and it will magically count up as you advance frame by frame.
Crikey!! Don’t we have it easy today with our Digital Cameras.
The Zenit Legacy
Zenit cameras, including the B model, were exported worldwide, becoming particularly popular in Eastern Europe and the UK due to their affordability. They offered a gateway into SLR photography for many aspiring photographers who couldn’t afford the pricier Western alternatives. I remember my Brother getting into Photography with a Praktica 35mm camera. Being a little S**T brother I’d play with it when he was out.
I also remember seeing these cameras in Argos back in the 80’s. Along with other affordable brands. Here’s one I found in an old Argos Catalogue online. The price? £49!! I’m not sure but I would imagine Dixons were also selling these cameras back then so you can see how far the brand travelled and they were popular back in the day for enthusiasts. Credit: www.issuu.com
While Zenit production eventually dwindled with the fall of the Soviet Union, the brand left an undeniable mark on photographic history. These cameras are a testament to Soviet engineering and a reminder of a time when photography was a more mechanical and deliberate process unlike today’s click and look. And thats not a knock on Digital. Digital is fantastic and professionally I’d be lost without it. But it has made photography So much easier and more available to everyone with camera phones. I’m guessing somehow this is why film is making such a comeback. Those that love photography and have always had a digital camera phone in their pocket and take it for granted. Let’s try film! Thats different.
Phil also included a couple of M42 Lenses. An Industar 50mm f3.5 lens and a wide 24mm Hoya Lens. I look forward to seeing the 24mm perform as it’s the widest lens on my film cameras so far.
A Big Thank You to Phil!
Phil, thank you so much for this amazing gift. It means a lot to me, and I can’t wait to put it to good use!
If you want to know more of the Zenit history here is a link https://zenit-kmz.com/eng/about-history/
The Vlog Photos.
Here are a few photographs I took on Ilford FP4. Developed in 510 PYRO.
Industar 50mm f3.5 Lens
Hoya 24mm f2.8 Lens (Orange Filter)
Praktica Super TL. The workhorse!
For those who haven’t seen the video yet (seriously, go check it out!), the Praktica Super TL is a 35mm SLR camera produced in East Germany from 1968 to 1976. It’s a sturdy, all-mechanical workhorse known for its reliability and ease of use. My friend Dale gave me this camera a few months back, and I’ve been having a blast shooting with it.
What Makes the Super TL Special?
- Built to Last: This thing is a tank! Seriously, it’s all metal and feels like it could survive a drop or two (though I don’t recommend testing that especially on your foot!). This build quality is typical of cameras from that era, and I found it a big part of the Super TL’s appeal.
- M42 Lens Mount: The Super TL uses the popular M42 screw mount, which means you have a huge selection of vintage lenses to choose from. This opens up a world of creative possibilities for experimenting with different looks and feels and some you can pick up for a very reasonable price!
- Simple and Intuitive: One of the things I love about this camera is its simplicity. The controls are straightforward and easy to understand, even for beginners. It’s a great camera to learn the basics of photography on.
- Light Meter: Unlike its predecessor, the Praktica TL, the Super TL has a built-in needle light meter which can measure film speeds from 6ISO to 1600ISO. It was Prakticas first SLR to have an internal light meter. This makes it much easier to get accurate exposures, especially in challenging lighting conditions. For the light meter to work it needs a 1.35v battery and they are available. I was using a standard LR44 (1.5v) and so my light meter was off and I think the difference in voltage caused it.
To set the meter to the film speed there is a film speed selector under the shutter speed dial. You need to align the white dot to the speed of your film by lifting the dial and rotating. The speed dial and ASA dial are then coupled. It is a bit fiddly though!
- Shutter Speeds: It offers a good range of shutter speeds, from 1 second to 1/500th of a second, plus Bulb mode for long exposures.This gives you plenty of flexibility to control motion blur and capture different types of shots. Unless you are shooting fast sports action you’re not going to miss the 1/1000 speed offered with many other SLR cameras of that era.
- Features: It’s not packed with features. Other than the light meter it has two flash sync ports (F&X), it has a DOF preview button. Oh, and a pretty little film indicator on the film advance lever.
- Focusing: The viewfinder on the Super TL is surprisingly bright, which makes it easy to see what you’re focusing on. This is especially helpful in low-light conditions.
- Micro prism Focusing Aid: In the centre of the viewfinder, you’ll find a Micro prism ring. This helps you achieve precise focus. When the image is out of focus, the micro prism will make the subject appear broken. As you turn the focus ring on the lens, the image will snap into clarity within the micro prism. If your eyes are good! I always have a struggle with these. I prefer a split prism but it’s fine. It just takes me a bit more time to focus in.
- Ground Glass Focusing: Surrounding the micro prism is a ground glass focusing screen. This gives you a good overall view of the scene and helps you judge composition and depth of field. And as I said earlier there is a DOF preview button. You can see it in the image below. The big black one! It also powers the light meter needle inside the viewfinder. You can also use the exposure fire button as a DOF preview if you press it halfway down. Be careful though… It’s a bit delicate and with the cost of film these days you don’t wan to be taking photos of your feet!
While the Praktica Super TL might not win any awards for ergonomics by today’s standards, it’s still a comfortable camera to use. Somewhat!
- Solid Build: That sturdy, all-metal construction I keep mentioning? It doesn’t just make the camera durable; it also gives it a nice heft and a sense of quality in your hands.
- Compact Size: The Super TL is relatively compact and lightweight for an SLR, making it easy to carry around. It’s not going to weigh you down on a day of shooting.
- Simple Controls: The controls are logically laid out and easy to reach, so you can adjust settings without taking your eye away from the viewfinder. Apart from the fiddly ISO dial!
- Smooth Operation: The film advance lever is smooth and easy to operate, and the shutter release button has a nice, responsive feel. Unfortunately my advance lever appears to not want to go back into position after advancing the film. I think there is an issue here as the film counter window doesn’t work! But thats no problem. I can still take great photos with the camera.
Who used it?
I can’t imagine this camera was a choice for professional photographers back in the 60’s and 70’s. There were other cameras that took the leading role with the Nikon F and the Pentax Spotmatic. I would imagine the camera was used by enthusiasts who wanted to get into photography on a more friendly budget. Saying that, there is no reason this camera couldn’t have been used professionally with the wide range of superb M42 fit lenses, especially from Pentax, which would have been compatible with this camera. It just didn’t offer the accessories like Nikon did. Changeable prisms, motor wind unit and of course, those wonderful Nikon lenses! I did ask this in the video if anyone used it professionally back in the day so if you want to know jump over to the comments section on YouTube.
My Thoughts!
I’m a sucker for cameras. I love all my cameras and each of them I use fundamentally. But, would I use this camera for a commissioned portrait shoot? I doubt it. I have much better lenses for other camera brands but for street photography I think it is ideal if you are looking for a camera that just works. (Except my dodgy film counter). And for the price of these cameras (I saw one claiming to be fully working for £12) they would be ideal for someone getting into film photography, especially with the M42 Lenses being so widely available and plentiful too. These camera styles where the exposure button is on the front instead of the top plate I find to be a bit uncomfortable, but thats because I am used to it. After a day or two shooting the Super TL I got used to the camera in the hands. I did find the big black button was in way of my grip as I kept pressing it. I did use the camera for a portrait of Emma using a TT Artisan 75mm f1.5 Lens (top), a Chinon 135 f2.8 lens (middle) and a Hanimex 28mm f2.8 lens (Bottom).
Film – Ilford FP4. Developer – 510 PYRO.
We all know it’s not the camera, it’s the lens but the camera does need to be comfortable in the hands.
So, thats my view on the Praktica Super TL.
Thanks for reading!
Laser/Light Meter for Photography
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
TT Artisan 75mm F1.5 Lens M42 Fit
Let’s start this post off by saying a big fat – WOW!
TT Artisan sent me this lens, their new Swirly Bokeh Lens and asked me to review it and also for their feedback. Why not! I get to keep the lens and if I don’t like it I will say so in my review and possibly sell it on or give it away. But I’m happy to say this lens is going to be with me for a long time! I love it.
The Video Review
Build Quality
“Okay, folks, buckle up! I’m about to embark on a journey into the unknown – the land of TT Artisan. Now, I’ve heard whispers of photography gear emerging from the depths of China, some good, some… well, let’s just say they make excellent paperweights. (My recent light meter reviews can attest to the “good” part, thankfully!). But lenses? Ah, lenses. The holy grail of photography. You don’t want to be caught dead with a lens that turns your subjects into blurry blobs, especially if you’re charging people actual money for your photos. Of course, there’s always room for some quirky fun – vintage lenses, anyone? Perfect for that ‘I shoot on film, even though I was born in 2005’ aesthetic.”
I really didn’t know what to expect from the lens and when I saw the box I was pleasantly surprised. The box looks good. Let’s look inside.
I have a few new lenses from Nikon and Canon and as you would expect the packaging is top notch! TT Artisan’s packaging is not bad, simple with no thrills and paperwork is on the cheaper side of the printing spectrum. In Chinese and in English. But who cares. We are just interested in the gear. Right?
There’s the lens in a bag with a packet of Silica Gel to trap any moisture.
And there is the lens out of the bag which brought a smile to my face. Straight away I felt quality. No loose parts, no numbers bleeding and it had a good weight to it too! Surely there has to be a catch. We are off to a great start for a lens that is priced around $270 or nearly £200. Build quality seems great!
- All metal
- fully manual
- m42 screw fit
- f1.5 – f16
- Closest distance is .75M 2.5ft
- Not weather sealed
- coated lens
- 6 elements in 4 groups
- Distance Scale (adjustable)
- 13 blades
A 75mm lens with apertures from F1.5 to F16, designed to produce a Swirly Bokeh and best of all M42 mount. Which is awesome! I can use it on my classic M42 mount cameras.
Testing
So now for the exciting part. Testing the lens. Luckily for me I have an M42 to Canon adapter which is a bonus. That means I can test this lens on my Canon DSLR and get FREE photos! Then for the real stuff I can switch to film, but not before I have got used to it. I want to get swirly bokeh photos so I need to find the lenses sweet spot for this.
Open wide at F1.5 you will notice the lens is very soft edge to edge with the focus being in the centre of the image but that’s what the lens has been designed to do for the Swirly Bokeh. I was pleased to not see any vignetting.
For best results
If you want any bokeh to stand out you need good background light, in this case, trees that had nice light shimmering off the leaves, or trees where there is nice sky breaking in between the branches. I looked for these backgrounds and pointed the lens toward thing a photo in focus and then gradually pulling the lens out of focus throughout a duration of shots.
So the above images you can see the lens focused and then slightly out of focus. Thats when the swirly bokeh was more detailed! And the last photo was focused off the scale! Nice and dreamy! And these effects will depend on your distance between the subject and the background. For example here are two photographs I took of my daughter Jess, both at f1.5 –
The lens filter size is 58mm and I didn’t have an ND filter to fit and because I was shooting a 125 speed film at f1.5 with a camera where it’s max shutter speed was 1/1000 I needed an ND filter. So I used a 3 stop 72mm filter and held it over the lens. Not ideal as I had to pre-focus and then cover the lens and shooting f1.5 I think I did well at keeping the focus!
The above photograph, taken on Ilford FP4, was at the perfect distance, me from the subject and the subject from the background to get that swirly bokeh effect. And the bottom photograph I moved in closer so the subject and background was closer to the lens. Swirly bokeh has turned into this creamy smooth shallow depth of field look. Which is still nice!
Here are some more intentional swirly bokeh photos I took. And the one below was taken at f5.6. I found the lens to be exceptional at this aperture for sharpness.
Subject Use
Being a 75mm lens I think this is going to be used for some landscapes and portraiture. So I shot a few landscapes on digital and I was stunned at the quality from a lens at that price. Something similar from Nikon with f1.5 would not be as cheap! (Okay, we know Nikon produce amazing lenses!) but I doubt I would be able to tell the difference. In fact. I used my Zeiss Milvus 50mm f1.4 lens to compare.
Above TT Artisan at f5.6. Below Zeiss Milvus at f5.6
Here are some more photographs I took with the TT Artisan Lens
It goes without saying the lens is coated and does have a nice contrast.
Colour Fringing
One thing I have never likes on cheaper or older lenses is colour fringing. That purple/green tinge you get on the sharper edges of the photograph! I did a couple of simple tests and was pleased to see none of that, or at least for the subjects and lighting conditions I was shooting.
Final Conclusion
My testing of lenses isn’t exactly scientific. I don’t need to know all the science behind the manufacturing to see I have a good quality photograph from the lens. And visual inspection of the build quality any fool can do. You know if it’s going to fall apart in a few months and this lens surely doesn’t give that impression! I’ve had Canon lenses fall apart on me over the years. But they have taken a battering!
Like anything only time will tell how I get on with this lens. How will it hold up over the coming months being dragged around in my bag and keeping the dust out? I don’t know! How will it hold up with moisture and condensation? Extreme weather? I don’t know but from what I have seen so far from this lens it is excellent for the price! Splash proof? I don’t think so. I wouldn’t like to take it out in the rain.
I think it produces excellent quality from what I’ve seen and does exactly what it is intended for, swirly bokeh. And if you don’t like swirly bokeh then just shoot a smaller aperture, f2.8 upwards and even then you’ll get a beautiful looking dreamy shallow depth of field background.
And at the end of the day this is my own personal opinion of the lens. Others may be looking for something totally different but for me. I think it’s great!
What is Abstract Photography?
We get so caught up in capturing “things” – a pretty flower, a smiling face – that we forget beauty lies in shapes, textures, colours, light and shadows.
Abstract photography might sound intimidating, something for artsy types who see beauty in a rusty nail. But guess what? You’ve probably already taken some abstract shots without even realising it! Remember that time you were in a city, neck craned towards a skyscraper, mesmerised by the play of light and shadow? Was that abstract photography!
I start pondering, like a deep-thinking philosopher with a camera: ‘Where does this masterpiece belong? What’s the grand purpose of this staircase?’ Maybe it’s destined for a fancy hotel room, adding a touch of artsy intrigue. Or perhaps it’s the perfect statement piece for the lobby, subtly hinting, ‘Hey, we’ve got stairs, and they’re kinda fancy too!
And this intriguing handrail shot. Textured wall, sleek lines… Hmm, could it be hotel room material? Maybe, but perhaps it’s still not quite ‘artsy’ enough. Time to bring out the big guns! Behold, the vegetable strainer on a light panel! Totally unrecognisable, zero meaning, a true enigma wrapped in stainless steel with holes. Now this wouldn’t be out of place on a google search for abstract! Perfect for a hotel room?… if they’re into the whole ‘black and white, existential crisis’ vibe. Maybe too much for those coming back from a hard night out.
And you don’t have to leave your home to get it.
But. What is abstract?
I guess it would make sense if a client asked you for black & white abstract photographs. What would they say if you replied – “What do you mean by abstract?” Would I feel silly asking the question? Probably! Maybe my return answer would be something like “So, you are looking for black and white prints without any identity – do you want soft or do you want hard black and white? Do you want lots of texture in them, lots of different shades of black and white?” – Maybe, that would be a better answer.
We could whittle the word “Abstract” down for professional use and categorise it. So when a client asks we can give them examples of certain types.
- Soft/Hard Abstract
- 50 Shades of Abstract
- Contrast Abstract (Such as the vegetable strainer)
- Strong Abstract (Totally unrecognisable)
- Minimal Abstract (Sort of recognisable)
- Textured Abstract
- Street Abstract
I made a video recently where I explored abstract photography indoors. My set up was very simple. I used a light panel (What I use to scan my negatives), a 55mm lens and everyday objects from indoors. The light panel gave me beautiful minimalistic light that rose up and wrapped around my subjects and also a brilliant white high key background. The video idea was abstract photography with phone and computer wallpapers in mind, hence the thumbnail.
Indoor Abstract
Why indoors? Let’s face it, most of us have stared out a window, camera in hand, feeling a bit like a lost puppy. We want to capture something, but the world feels stubbornly un-photogenic. Look around your home! And if you have a light panel or even a tablet you have a high key background.
Metering the scene was easy. I just metered for the panel which meant I took a reading from the cameras average and overexposed a couple of stops. If I had a darker subject I would just overexpose by another stop or two. Overexposure didn’t matter for the light panel. You can’t get whiter than bright white.
Abstract? I’d say more arty farty. But let’s look at those categories I mentioned and see if I have any photographs that may resinate.
Soft/Hard Abstract
I would split this into two. Soft or Hard. Soft being a photograph with a shallow depth of field and Hard with a larger depth of field. Here are two photographs of pens. One is soft, the other hard. Controlled by the aperture.
Shades of Abstract
This would be abstract photography which has many shades or tones. This is tracing paper screwed up and the light from the panel gives us many shades.
Contrast Abstract
This is an easy one. Hard contrast.
Strong Abstract
For a strong abstract photo I would say something totally unrecognisable. This could also be Strong – Plus another category such as Strong Soft. Strong Textured.
Minimal Abstract
Textured Abstract
Street Abstract
It’s not difficult to find abstract in the street for all of the categories. Probably a lot easier than indoors and you have the option, when sunny, for hard light for more striking shadows.
Where it all gets lost!
I think it’s important not to allow “Minimalistic” Photography to get in the way of abstract and you could argue that some of the examples I have shown are just that – Minimalistic Photography. Which is when things get confusing! The categories we can use to make sense of it all? I think on a client side of the argument it’s a sensible way to define or whittle their understanding and expectations. As if a client asked me for an “Abstract” print for his hotel rooms they could possibly choose one that I and many consider to be minimalistic. Abstract to me is a word that can define many styles and we can find abstract by looking for the main ingredients –
Light, Texture, Shape, Symmetry and colour regardless of subject identity. Meaning it – doesn’t matter if it’s obvious. Like this Guitar.
Just because we can see it is a Guitar, does it mean it’s not abstract? Maybe it’s too obvious.
Google the meaning it says “Abstract photography, sometimes called non-objective, experimental or conceptual photography, is a means of depicting a visual image that does not have an immediate association with the object world and that has been created through the use of photographic equipment, processes or materials.” Wiki
So how about this of the Guitar. Maybe it’s more inline with abstract where it’s not so obvious.
Above all it is a good subject to take on – sometimes with stunning results and just because you have Googled “Abstract Photography” don’t feel pressured to find similar. Look for those ingredients wherever you are, take the photo and see how it turns out. You’ll soon find out yourself what you see as abstract. And if you’re not into street photography there is plenty of subjects you can find indoors that can lend themselves to some awesome abstract photos.
Phoenix just got bigger!
The techies over at Harman have been busy the past few years. Those clever lab jacket guys have not only built a brand new 35mm colour film from scratch, which must have been a heck of a job!, they have now released the same film in 120 Format! I can only guess that Phoenix 200 had a successful year and it’s great news for those that mainly shoot Medium Format! I for one am excited about the release. Not because I am a colour film nerd, I’m not! I love Black and White too much – but now and then I shoot a bit of Phoenix and I don’t necessarily want to shoot 36 frames of the stuff! So this is perfect for me to whack out 8 frames on my 6×9 Camera. My only shortfall is that I don’t print colour. Never had! Even though I can. I have an Intrepid Enlarger. I should.
But for now if I like a photograph that I have taken in colour I ask my friend Steve, who owns a gallery and a very nice printer, to print one for me. Simple. And I always have the negatives for the future.
I recently put out a vlog shooting the new 120 format where I was lucky enough to have some rolls sent to me from Harman and I couldn’t wait to see what the negatives looked like on a 6×9 surface. I shot one roll, 6×9, but realised not everyone shoots 6×9! So for the vlog I used my Pentacon Six 6×6 medium format lump.
I shot four rolls in all and developed them all in Cinestills C41 Kit. Which is dead easy to do! I have a video on that process if you want to see it. It was my first attempt at developing colour film.
Here are some of the photographs that I took and I must admit, I thought they looked really clean as my experience with the 35mm version of
the film I have had a mixed bag of results with grain and contrast… possibly due to development! Who knows. But these came out nice.
6×9 Images
6X6 Images
The Praktica MTL 5b
The Praktica MTL 5B was generally considered to be a relatively inexpensive camera when it was released in 1985. It was part of a line of cameras produced in East Germany, known for being functional and affordable, catering to amateur photographers and enthusiasts on a budget.
It was positioned in the lower-to-mid price range. It was certainly not considered a luxury or high-end camera, but rather a practical and accessible option for those seeking a reliable SLR camera without breaking the bank. Its affordability was part of its appeal, making it a popular choice for students, hobbyists, and anyone interested in exploring film photography without a significant financial investment. Let’s be honest, no camera is perfect. The MTL 5B has its quirks, but its strengths far outweigh its weaknesses
Today you can pick these cameras up for anything between £10-£50! I actually struggled to find one above £50 which is amazing for a camera of this quality. Compare this camera to any other SLR with similar functions. It’s proper cheap! But don’t let the price fool you into thinking it’s no good. The one I have, which was given to me by a good friend works a treat!
It may not be the most comfortable camera to use. It’s heavy and take a bit of getting used to but it sings a nice tune once you have a good lens on!
It has shutter speeds from 1s to 1/1000, ISO range from 12-1600, frame counter window and also a hot shoe for flash. So there is plenty to get creative with. And the best thing I like is this cameras lens mount is M42 Screw Fit! I have a few of those lenses and even used ones online are inexpensive and plentiful too on the used market.
Features:
- TTL Metering with Modern Convenience: The MTL 5B boasts a through-the-lens (TTL) light meter, ensuring accurate exposures even in challenging lighting situations. Unlike some older Prakticas, it uses readily available LR44 batteries, eliminating the hassle of hunting down obsolete mercury cells. Unfortunately this cameras meter is a bit twitchy!
- M42 Lens Mount – A Gateway to Vintage Glass: One of the biggest draws for me was the M42 screw mount. This universal mount opens up a world of creative possibilities with a vast selection of affordable vintage lenses from various manufacturers.
- Built to Last: This camera is a tank! Its all-metal construction feels reassuringly solid in your hands, and it’s built to withstand years of use and abuse.
- Simple and Intuitive: Despite being a fully manual camera, the MTL 5B is surprisingly easy to use. The controls are logically laid out, and the viewfinder is bright and clear, making it a great choice for beginners and experienced photographers alike.
- Mechanical Shutter: No need to worry about batteries dying in the middle of a shoot. The MTL 5B’s mechanical shutter operates even without power, ensuring you can keep capturing those precious moments.
What about the downsides? There isn’t many!
- Weight: It’s a bit on the heavy side, especially with a lens attached.
- No Depth-of-Field Preview: You’ll need to rely on the depth-of-field scale or stop down the lens to preview your depth of field.
- Basic Feature Set: It lacks some of the bells and whistles of modern cameras.
- Metering: The metering system can be a bit finicky in certain lighting situations.
- Shooting: I found the fire button to be in an awkward position with the stop down meter very close!
I have only used this camera once so far and it was a joy to shoot. All of the shutter speeds appear to be accurate and the mirror operates as it should, so thats all I could ask for. The rest for good photos is up to me and the lens I choose. As I said, the meter is a bit twitchy so I don’t rely on that.
Some example photos:
Chinon 50mm Lens. Ilford FP4 pushed to 400 developed in D23 Stock.
You see a light leak here. That was from the FP4 bulk load! Not the camera.
Hanimex 28mm
Hanimex 28mm Lens with Fish Eye Adapter
Chinon 50mm
And these lenses I used were cheap lenses too!
So there you have it. The Praktica MTL5 b. An excellent camera, built like a tractor and very capable for taking great photographs. Heavy, a bit fiddly with the fire button if you are used to a regular SLR where the fire button is on the top, but you soon get used to it. If you get one with a working light meter then you have a bargain camera!
Practice Photography and Confidence!
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.
The Forgotten Nikons!
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
