More Favorites From Photographica

While I did only take one roll of Tri-X into the show, the Hasselblad really did not let me down I loved all of the shots, and continue to review the negatives with amazement. They convey that classic 3D Hasselblad look- insane sharpness, yet a dreamy look that challenges the human eye. Each time you look at a well made frame, you notice something new.

Checking out photography books. The large aperture when used on the Planar makes a large hall look small, while drawing your subject in close. Use the scale on the barrel of the lens after estimating your subject distance. Your DOF preview will be dark, but after a while, becomes highly effective. The optional quick focus handle really is a nice tool to use.

I remember chatting with this dealer at the last Photographica, and he always seems to be having a lot of fun, and quite a pleasant gentleman.

Tonality, texture, and dynamic range are all attributes of film that I love. Not to mention the ability to capture “The Decisive Moment”-

Let’s Make A Deal! Some beautiful gear, including a large format camera.

It’s going to be a long wait till the next Photographica. Shooting Hasselblad this Spring and Summer should really help the time fly.

Hasselblads For Sale (But, Not This One)

As I had my Hasselblad with me at Photographica, I decided to walk the show floor, and take a few shots. Some people stopped me in amazement, at seeing someone actually shooting with one. I don’t display this camera, I use it. others, several show attendees, and dealers, asked me if I would like to sell it. No chance. None! I bought it at Photographica 4 years ago. While it is a beast to carry and handhold, the new grip almost makes it feel light. And much easier for walking about.

I shot these with the new grip, wide strap, PME-45 prism, and trusty 80mm f/2.8 CF T* Planar. And yes, Kodak Tri-X, at ISO400. All exposures are at f/2.8, 1/60th sec., metered with the Light Meter app on my iPhone. In hindsight, I could have tried to hold steadier, and shot at 1/30th, The hall is dark! Developed with D-76.

 

Hasselblads, and Speed Graphics, for sale! Dealer that sold the 500c/m to me 4 years ago can be seen to the far left.

Graflex, and more Speed Graphics. Large Format, anyone?

The Hasselblad has this dreamy, yet crazy sharp look, particularly wide open. As the 80mm Planar is the fastest glass in the fleet, perfect for such dark environments. And, with people in the scene, the shots take on a mystical look, unlike any camera you’ll ever work with. It’s easy to see why Hasselblad attracts such a cult following.

Selling, and making new friends.

It’s hard to see the Hasselblad leaving my hands this spring, summer, fall…NOT for sale!

Photographica, Spring 2014

After missing the last few, I was able to make it to Day 1 of PHSNE’s Photographica on Day 1 in Wakefield, MA. This year, instead of aimlessly scooping up stuff like a drunken sailor, I made a list on my iPhone, and pretty much stuck to it. There were the usual dealers asking the moon for the higher end Nikon, Leica, and Hasselblad stuff. One dealer tried to tell me that the two Nikon FE-2’s he had in the box were “most likely never even used”. Sure they weren’t. Take what some of these people say with a cynical grain of salt.  Additionally, as I mentioned to one dealer, just because it says Hasselblad on it doesn’t mean you have to pay a premium on it. There were deals to be had, and some of these people love to barter. They pretty much set up at the same physical space, with the same stuff, show after show. However, one welcomed change was moving the beloved Dollar Table from the entry area, to the back of the hall. That way, the virtual feeding frenzy could begin, without disrupting the rest of the show. The tables really did seem to have a lot less “good stuff” than in years past.

I’ve really been wanting to get back into Hasselblad photography, and decided the 500cm needed a few optional accessories to make it easier to take out into the field. Perfect timing.

But, on to the list- here is what I was able to scoop up-

• A Hasselblad grip bracket (P/N 45071), in excellent condition, normally about $99 on eBay, for $15.
• A Hasselblad lens shade for the 80mm Planar, (P/N 40670), about $50 eBay, for $30.
• The wide Hasselblad strap, the 1″ rubberized (P/n59110), which I have seen selling for $40-50, for $20.
• An extra Hassy rear lens cap, normally $8-9, for $2!!!
• And, off-Hasselblad, an alltime favorite read, The Complete Nikon System: An Illustrated Equipment Guide by Peter Braczko, originally a $40 book, for $5. I have taken this book out of the local library at least 5 times, and it is really worth owning, despite a few errors.

I even had one dealer give me a fresh Box of Magicubes to use in the Polaroid Big Shot, and, Brian Jacobs of The G.A.S Station (GAS being Gear Acquisition Syndrome), an excellent YouTube channel, gave me a Hasselblad Rapid Winding Crank. If you have not seen Brian’s excellent video reviews of vintage cameras, be sure to check them out. His reviews of the Leica R7 and R8 are extremely well done. And while I doubt I will never get into Leica because of the cost prohibitive prices of the glass, watch them, and you will want to get them. There are lots of YouTube camera reviews, but his are really the best of their kind. Thank you, Brian!

I shot a roll of Tri-X with the Hasselblad 500cm at the show, but while the negatives hang and dry, here are a few shots I took with the Canon SD1400 IS.-

Photographica takes place twice a year, and can be hazardous to your wallet. Make a list, and try to stick to it. I do hope that some new dealers would join the mix. Some of the same gear does tend to show up over and over again. But if you are a serious film photographer, there is no better place to be.

Shots From Photographica- April, 2012

As I blogged recently, last month, there truly were bargains to be had at Photographica. Ironically, despite being a mostly analog show, I was one of the few folks I saw there who was actively shooting film at the event. My Nikon F3HP received several ‘is that one for sale” inquiries, as well as “what film are you shooting with” questions. I was amongst friends, so the usual “you can still get film?” was not a question. The lighting was very dark inside, and as I did not shoot with a flash, I shot wide open at f/1.4. Outdoors, at about f/8.

Here are a few shots from the weekend (April 14-15, 2012)-

So nice to see a Hasselblad on the sign!

Fellow PHSNE member Al Holmy always has great gear for sale- and is very, very knowledgable.

Lots of film photographers were buying, and the prices were, after haggling a bit, very reasonable.

This gentleman had some fantastic Canon glass for sale.

Trying a tripod out.

The next Photographica is September 22-23rd, in Wakefield, MA. See www.phsne.org for more details. This show, the prices seemed much more reasonable, in line with what is out there online, and the dealers were indeed haggling. Maybe a sign of the economy, but also great for us. This show is a must see for film photographers in the Northeast.

Light Leaks Revisited- How I Fixed Them In A Polaroid Model 100 Automatic Land Camera

Light Leak In Upper Right- Means Leak Is On Left Side Of Camera Bellows.

A while ago, I blogged on the topic of light leaks. For some reason, I love them in a Kodak Brownie, which I shoot with, or stuff I see taken with a Diana or a Holga, which I do not have, but love. They seem part of the whole Lomography movement. But, in Polaroids? Call me weird, but to my photographic eye, they just don’t look right.

At Photographica a few weeks ago, I picked up, amongst other great finds, an original 1963 vintage Polaroid Automatic Land Camera Model 100. The first of the series, this beautiful camera was packed in one of the large Polaroid attaché’ kits, with every accessory imaginable, and unopened print mounts. When you collect and use Polaroids, this was a very nice find. The price was even nicer- on the dollar table, for a buck. Done.

The camera has a few quirks, which Polaroid undoubtedly improved upon in the later 200/300/400 series cameras. The chemical spread is uneven, resulting in all kinds of blobs. But what really was noticeable was a light leak, appearing in the upper right of each print. This told me there was a leak in the bellows somewhere on the left hand side. I took the camera into the darkroom, and shined a strong LED light into the back. Sure enough, a couple of pinhole sized leaks were noticeable on the left-hand side. Off to Home Depot.

Strong Stuff- Rust-Oleum LeakSeal.

After seeing an in store display showing how Rust-Oleum LeakSeal, described as a “flexible rubber coating”, I decided to give this a whirl. The bellows need to remain flexible as they expand, contract, opening, closing the camera, and focusing. it sprays as rubber, flexible, and pitch black. It is not cheap, at $10 US a can. And it is a STRONG smelling material. It needs to be sprayed in an area that has plenty of ventilation. In hindsight, I went a bit crazy, spraying two coats. More later on the unexpected side effect.

Masked off inner lens element, located behind the shutter assembly. You must do this before spraying LeakSeal. As you can see here, it did what it was supposed to do- protect.

INSERT WARNING HERE- Make sure you mask off your inner lens element, before spraying. I used masking tape, and then put Gorilla Tape over that area, with the bellows retracted, before unfolding. This will keep the black, rapidly drying LeakSeal from ruining the camera optics, and maybe even the shutter itself.

After letting it dry overnight, I tested the bellows for flexibility, and for leaks. None to be found, but the bellows folding was a bit rigid, and tight. I think one coat here really would have been plenty. The stuff is pitch black, and durable, but importantly, flexible. Two coats, not as flexible. Less is more. Lesson learned.

Fun, this was not. This stuff could knock an elephant down. But it works.

I took the camera out yesterday, almost as an afterthought, as I had some digital photography to do in the morning with my D300, at my son’s game. One bag. And some chrome I wanted to shoot in the afternoon with the F2S. Another bag. So, I threw the Polaroid case into the trunk. Diners and Polaroids are almost made for each other. As you can see, there is a lot of uneven chemical spread still. Maybe another project for another day. Until then, yes, the light leak is gone. If you like them, keep them. If not, they can be easily repaired.

Moran Square Diner, Fitchburg, MA- Uneven Chemical Spread In The Corners.

Metal Mechanical Marvel- The Nikon F2

Nikon F2S, Built In Japan, In 1976.

After a lengthy hiatus (too long), I am back photographing. So much so that I am behind on my developing. And suffering yet another medical setback, that has forced me to slow down lots of activities. How does one cheer up? Maybe pick up yet another camera body that has been on the “bucket list” for years now. The classic, quintessential mechanical 35mm SLR, the Nikon F2.

Introduced way back in the Fall of 1971, the F2 originally was slated to be called the Nikon F Model A. Thankfully, Nikon settled on the numeric nomenclature that exists today with their D series. The F2 was more an evolution than a revolution, a refinement of the Nikon F that came out 12 years earlier. The F2 was on the drawing board for years before its introduction. Despite the fact that Nikon was selling a ton of F’s, even going into shortages in many parts of the world in the early 70’s.

The F2 set out to correct a few quirks that the F had since 1959. The body was now more rounded, making it easier to hold in the hands. A slightly faster flash sync speed was now at 1/80th of a second, up from 1/60th. The top end shutter speed was now 1/2000th of a second, almost unheard of in its day, and still a marvel for an all mechanical camera. Amazingly, exposure can be fine tuned by choosing intermediate, stepless settings about that 1/80th sec. speed. The batteries for the light meter were now of the silver oxide variety- no more mercury. The batteries are available today, still,ejust about anywhere you can think of.  Not that you always need them, because, like the F, the F2 is 100% mechanical. A larger mirror reduced the likelihood of viewfinder vignetting with longer glass. There are about 1500 parts in the camera. Yes, you still get a bullet proof titanium shutter. And, a hinged back door with a memo display. No more removable door, a holdover from the rangefinder days, which maybe is one of the original F’s very few design flaws.

The F2 was conceived as more of an “automatic” Nikon, allowing for add on’s that would automate modes such as shutter priority. Those with the mindset that an F should be a full manual camera, always, would later be disappointed in 1980, with the introduction of the F3, and its Aperture Priority mode. Ironic, because when the F3 ended production almost 20 years later, it was then hailed as one of the greatest 35mm SLR’s of all time.

The model I scooped up this past weekend, at Photographica, is the F2S. Built in 1976, it was impossible to resist, condition, functionality, and price were all to the liking. The F2S was the first 35mm SLR with LED’s in the light meter to display exposure. They are beautiful to look at, helpful to measure exposure, and a huge plus in low light situations over the previous needle mechanism. And nicely tuned with the stepless shutter speed capabilities.

The F2 is a joy to use. The better handling and ergonomics really make it easier and even more fun to operate than the F. while still admittedly a very heavy camera, it does not feel heavy in use. It is perfectly balanced. And feels more like a finely tuned instrument than a camera.

NOTE: If you plan on using the F2 with a “modern” day Speedlight, you will need to get, which I did right away, the very handy AS-1 flash coupler. This slides over the rewind knob, and allows you to slide on most Nikon Speedlights, even thouse such as the SB-600, or SB-900!

The F2 made way in 1980, for yes, the F3. Samples from the 1st roll below, shot with Portra 160, in Wakefield, MA, home of Photographica-

From the first roll shot on the F2- exposures are slightly hot, but maybe due to the time of the day, and just not used to the light meter yet.

What you see is what you get with the Nikon F2- 100% viewfinder coverage, always.

Camera Shows – How To Be A Smart Shopper

This past weekend, it was my pleasure to attend my third Photographica show, in Wakefield, MA. Organized by The Photographic Historical Society of New England, of which I am a member, this is a large camera show, held twice a year, in the fall and the spring. With over 70 dealer tables, It brings hundreds of camera and traditional photographic process enthusiasts together. While there are clearly some fantastic deals to be found (I scooped up a basic Bogen enlarger for $1.00 US), there are also some real questionable prices as well. Some dealers anticipate something of a “haggle” process, and inflate their asking prices accordingly. As Mike Brady told Greg once, “caveat emptor”- let the buyer beware. Here are a few tips-

• No matter what, don’t “fall in love” with any piece of gear. Go to these shows with a sense of purpose, or a wish list. While old me would have scooped up that $5000 Nikon SP rangefinder, smart me (today) was content to hold it, admire it, and lust over it. I’m good for another year at least.
• Use technology. If you have an iPhone, or a Blackberry, or some Android device, download and install the free eBay application, and have search and the “Buy It Now” filter ready to go. This way you can get some kind of benchmark as to if you are getting ripped off.
• Look at glass closely- hold it, check it for fungus, chips, etc. If you are mated to a specific system (Nikon, Canon, Hasselblad, etc), bring a body with you, and ask the dealer if you can try the lens onto your body.
• Look at cameras real closely. Ask if the camera has been CLA’d- cleaned, lubricated, and adjusted. Critical for a camera such as the Hasselblad, which I bought last year, as it had been recently CLA’d. That was a huge selling feature for me. Also, ask about the light seals. Have they been replaced? Are there any light leaks? If so, is it easy to do yourself, and can the dealer work with you on pricing of the item accordingly? With older cameras, the cost of the body is just the start. Factor in some maintenance – it will need some at some stage.
• Don’t be afraid to haggle. Some of these folks really want to make a sale. If foot traffic is light (this show was noticeably more quiet than the last ones I went to), the dealer may just want to make a sale. I have never been to one on the last day, at the last hour, but if you really enjoy haggling, and some customers do, that might be an advantageous time to be there. Some will want to lighten their inventory before moving on to the next show, or back home.
• Comb the dollar tables- aside from the predictable filters, obscure accessories, etc, you can really scoop up some great buys, such as the aforementioned Bogen enlarger.
• Look for film deals. I got a brick of TMax 400-36 for $18.00. With silver prices going insane, and film prices following? Stock up.
• Don’t let them tell you that eBay is a wasteland. There are some deals to be found on there as well. Call to the dealer’s attention any comparable eBay finds that have been “film tested”, show them the pictures, etc. At there shows, there is a lot of junk, and you see some of it resurface show after show. There are certainly reasons for that.
• Have fun- this can be a blast, and at times, quite frustrating. But the good far outweighs the bad.
• Be sociable. I am painfully shy, but a lof of my shyness goes away when I am chatting with dealers and fellow shoppers. You can learn an awful lot, while making new friends in the process.

Can’t wait for the next one. There are less and less of these types of shows sprouting up, so I am very fortunate to have such local access to this exceptional event.

 

Americal

Americal Civic Center, Home Of Photographica, and The PHSNE, Wakefield, MA

While getting caught up on scanning the past few days, I came across this Polaroid I took at The Americal Civic Center in Wakefield, Massachusetts. This is where The Photographic Historical Society Of New England holds our meetings, and hosts Photographica, which was held on 4/30 and 5/1.

Thankfully, I had Fuji FP100B B&W film loaded up in the 230, as it was a gray, overcast, miserable day. The sky in the picture is pretty much how the New England sky has looked for the better part two months, when it has not been pouring.

Have some digital snaps I took on the selling floor. Just need to start transferring from the Canon. But, what a nice building.

The Brick – An American Classic, The Argus C3 Rangefinder Camera

The Brick, The Argus C3 Camera

A few years ago, my father gave me an Argus C3 camera. It was given to him by a neighbor. My Dad is in his late 70’s, and working a 35mm rangefinder camera is likely something he could have done 20-30 years ago, not today. We both had a great chuckle at what a hideous piece of crap this thing looked like, despite being in beautiful condition, and in the original leather “never-ready” case. At the time, I was into photography, but not in the rabid manner of today.

Fast forward to this past weekend. While at the bi-annual Photographica show, which is held by The Photographic Historical Society of New England, a dealer, after finding out I had one of these, showed me the Argus 35mm wide-angle, and 100mm telephoto lenses, both West German-made (thank goodness-if they had been American made, they would likely not be working today). He asked me if I had taken the Argus out, which I have not. He encouraged me to do so, as it is a camera capable of taking some amazingly sharp, contrasty images. Turns out that the Cintar 50mm lens is somewhat of a legend with rangefinder photographers. A rangefinder? My perception was that they are a nightmare to focus, and to use. That misperception could be nothing further from the truth.

Taking the camera out for the first time this weekend, I had a realization. Wait, I already have extensive rangefinder experience, with the Polaroid Land Cameras. The same concept. In use, the Argus is much slower to focus, yet instills a lot of confidence that you got the shot. The rangefinder window is tiny, and hard to use. The look of the camera is that of a science project gone bad. Gears and levers all over the place, with strange markings everywhere. The fastest shutter speed is 1/300th of a second, so outdoors, 100 or 200 speed films are what you are feeding it.

The Argus is a joy to use. It’s performance has dubbed it “The American Leica” amongst vintage camera photographers. Argus, out of Ann Harbor, Michigan, made a ton of these. Legend is that your parents, grandparents, aunts, or uncles, have at least one of these hanging around, collecting dust. It single-handedly made 35mm the format of choice worldwide. A variation of it, the LC3 Matchmatic, has a non coupled lightmeter on the accessory shoe, and an olive colored skin. This camera uses proprietary EV values, and the meter can be used on a C3, with an exposure chart, easily available online, which translates the EV values to the more traditional f/stops and shutter speeds of the C3. The camera, I am told, made a nice appearance in one of the Harry Potter films. I guess it is used by Colin Creevey in The Chamber of Secrets. I have yet to see a Harry Potter film- I may have to do so. Already have a bid in on a Matchmatic. The Argus is just too fun of a camera to resist. The most fun I have had with a camera in a long, long time.

The C41 processing should be complete today- can’t wait to see the results.