Showing posts with label Fomapan 100. Show all posts
Showing posts with label Fomapan 100. Show all posts

Sunday, June 14, 2020

Falling Back Into Love With 6x7

A t-shirt that I have had for several years.
Almost 20 years ago, my mentor, Bill Brudon, gave me his Pentax 6x7 kit. He said it was too heavy for him to use at his age (80-ish), and as I was in my 40s, I thought the camera was just fine. At the time I was all over the place with my photography, trying to figure out what I really liked, and working through all those wonderful cameras that came my way. The 6x7 was large and heavy, and I lugged that camera around in the Upper Peninsula of Michigan, thinking that I had the perfect camera for landscape photography.  I took it on a trip to New Mexico in 2003,  and took a few good photographs with it.

After a decade,  I hadn't used it as much as I thought I would, and lured over by the much lighter Rolleiflex and Hasselblad to a 6x6 format, the old 67 didn't see much use. At some point, and I don't remember when, the 6x7 had a mechanical problem, so I ended up selling all the 6x7 stuff I had. In 2014, I was selling the photographic gear of a deceased photographer, and ended up buying a Pentax 6x7 that lacked the battery cover (easily remedied with tape and cardstock).  The 90mm normal lens was all I had for some time, then I bought the 135mm macro lens for a lot less than I would have paid a decade earlier.  Over a year ago, I picked up a box of Pentax 6x7 accessories at a thrift shop for $10. Among the items were two Pentax close-up diopters for the 6x7, which obviously sell for a lot more.  This spring, I purchased the 55mm SMC Takumar lens - which is just what I needed to do landscape photography.  Now that I'm in the Appalachians, I know that the 55mm lens and the 90mm will be used quite a lot.  With the 10 negatives/roll of 120, I'll be more selective in my shots compared to using 35mm.  Yes, using a camera like the 6x7 does slow down my photography, and that's probably a good thing.

To be honest, the Pentax 6x7 is a beast.  It's a bit ungainly, but not as much as a Mamiya RB67.  It's weighty (5 lb 6 oz), and at 63, I know that it's not the camera that I'll take on a hike in the woods.  However, the negative size is perfect, and I am finding so many interesting things to shoot here in NC.  It's all about the negative, though, and the 6x7cm negative has a lot to offer. I'll never be a large format shooter - it's just not my thing.  A Fuji 6x9 "Texas Leica" has some appeal to me, but the Pentax 6x7 has great lenses from wide to telephoto, and the SLR has many advantages over a 6x9 rangefinder camera. Not that I don't love the 6x9 format - I do, but 6x7 is really nice, too. For close-ups and macro work, the 6x7 excels, and somewhere in my files I have transparencies of that early work that I did.  I just did a bit of a look through my negatives from 2003, and here's one from the Guadeloupe Mountains near Carlsbad, NM.

Nothing spectacular, but proof I was there, I guess.

At this point, I'll be selling some items to acquire some Pentax 6x7 accessories -- a waist-level viewfinder, for one. Low-angle shots really require one.  I used to have the 200mm lens, which is great for portraits, so I just purchased one on eBay. I already have a lot of 35mm Nikon gear, so all of my Minolta SLR gear will be on the auction block soon.

From 2002, UM Peony Garden, Fuji Superia


The Pentax 6x7 is definitely a camera that is well-suited for use with a tripod.  It makes it much easier to compose, and then use the mirror-lockup to not have to worry about mirror-slap vibration affecting the sharpness of the image.  I used to have that wood-handled grip, too, but I don't think I'll bother with finding one.   I look forward to spending more time with my Pentax 6x7 and getting back into the groove of using it regularly.

Recent 6x7 work:

Fomapan 100


Fomapan 100

Fuji Acros 100

Fuji Acros 100


Panatomic-X

Wednesday, August 08, 2018

In Praise of the Nikon F



First released in 1959, the Nikon F became the dominant SLR among professionals due to its ruggedness, reliability, full complement of accessories, and ease of use.  The modular approach with different viewfinders allowed Nikon to upgrade the metering system without having to revamp an entire camera. The Nikon F was discontinued in 1974, after being replaced by the F2 in 1971. Fifteen years is a long time, and while the F was certainly not the only Nikon SLR produced over that span, it remains an iconic SLR. Over 860,000 Nikon F bodies were produced in that time, and I wonder how many are still working today. My guess is that most of them do.


The Nikon F was the first Japanese SLR to have:

  • 100% coverage in the viewfinder
  • Mirror Lockup
  • Interchangeable focus screens
  • Full Pro system from day 1 (a huge range of lenses on day 1)
  • 250 exposure back
  • electric motorized winder that could be attached to the body
  • titanium foil shutter





I'm not going to provide an exhaustive history of the Nikon F, as it's certainly covered elsewhere on the web and in various publications.  For some great resources, check out the following two books:


  1. The New Nikon Compendium. Stafford, Hillebrand, & Hauschild. 2004. Lark Books, NY. 415 pp. ISBN-1-57990-592-7
  2. Nikon F Nikkormat Handbook of Photography. Cooper and Abbott. 1968. Amphoto. (ring bound with 14 chapters + index).

and web sites:



Okay, back to my story. I first held a Nikon F around 2000-2001, when I was moving a bunch of equipment around where I worked at the UM Museum of Zoology.  A Photomic F belonged to a curator who had used it extensively in Australia in the late 1960s, and through the 1980s.  The worn leather bag held the camera and 3 lenses - 50mm f/2, 55mm micro-Nikkor, and the 200mm f/4, as well as an M extension tube.  That was my first contact with the camera, and while I thought the Nikon F with the Photomic finder was ungainly, the view through the lens was fantastic.  Plus, what was with the funky twist and turn when I mounted the lens?  Compare the Nikon twist with the predominant M-42 mount that was available in 1959, and one can see how much better it was.  The "Nikon twist" - was to index the lens to the maximum aperture, which all of the non-AI lenses required with the Photomic finders on the F and F2, as well as the Nikkormats (until the FT-3).  AI lenses - Auto-Indexing, which came later, was achieved with a small tab on the base of the lens that engaged a matching cam on the lens mount. If you had a plain prism or waist-level finder on the F, you did not have to index the lens. 

I found that old camera to be a challenge, but I was already a Nikon fan, having been the recipent of an N-50 and lenses from my mentor, Bill Brudon.  I eventually was given a Nikon F by someone that was cleaning out his accumulation of "stuff." It too, was a Nikon F with the Photomic finder.  Later, I bought an F2 which I used for quite a while. 

Over the years since, several Nikon Fs have come my way.  While the metered Photomic finders may have had problems, the bodies did not. My daughter also liked the Nikon F with a plain prism.  It was simple, less heavy than the Photomic version, and just looked awesome.  No meter? No problem, sunny-16 or a hand-held meter.

For a while, I divested myself of any Fs and then earlier this year, this lovely Nikon F with a nice plain prism found me.  I'm keeping this one.  It is a superb example of the iconic camera.  Plus, with a 50mm f/2 Nikkor-H lens, it's a lot of fun to shoot with. 

Using a Nikon F with the plain prism is as basic as you can get.  No meter, only the aperture ring on the lens, the shutter speed dial, and the shutter button, and film advance. It is very similar to using a Leica M2 in that aspect.  The Titanium-foil shutters of the Nikon F seem to last forever, unlike the cloth and rubber shutters found on the Pentax Spotmatics. 

The only area where the F is lacking would be in using a flash.  Because the finders are removable and interchangeable, the flash contacts are over by the rewind crank.  To use a flash connected directly to the camera with a hot shoe, you need the AS-1 flash adapter, which works with any flash with a standard hot shoe.  The original Nikon F flash adapter is a cold-shoe, and you connect to the X-sync PC socket on the body with a short cable.  You can also use a flash attached to a flash holder that screws onto the tripod socket, which also requires a PC cord.  The big potato-masher flashes of years past were connected this way. Flash sync is 1/60 sec, slow by today's standards. 

You may also be a bit confused on how to rewind the film, as there is no release on the bottom of the camera.  The collar that surrounds the shutter release button is rotated to "R" to rewind. Make sure it is rotated back to "A" to advance the film.  If you want to use a cable release with the F, you'll need to find a Leica-style cable release, or an adapter that screws onto the collar to allow a standard cable release to fit.  These are minor quirks that F users are familiar with.

If you have a Nikon F with the metered prism, such as the Photomic, you'll have to use hearing-aid batteries (zinc-air), because the meters required mercury cells. Of course, you can use Alkaline cells, and if you are using C-41 film, it probably won't make much of a difference in your results.  In addition, due to the age of the finders, they may not work at all, or be unreliable.  This is why I prefer the plain prism finder.

I took my F along on a trip to Collingwood, Ontario last month.  Sometimes I used a hand-held meter, sometimes I used sunny-16, and trusted my instincts.  I shot a couple of rolls of film, one of them being Fomapan 100, which I developed in HC110-B.  Here are a few images from that roll. 









I found the camera to be a joy to use, and its robust yet ergonomic construction just invites one to use it.  There is no chintzy feel to this camera whatsoever.   In fact, it could stop a bullet.    I only need mine to stop time for a fraction of a second.  It does that quite well.

Thursday, March 29, 2018

ONE-ROLL REVIEW - Kosmo Foto Mono

One of the recent developments in the film world has been the sale of  "boutique" films, such as the JCH Pan.  Another brand, Kosmo Foto, has released a B&W film called Kosmo Foto Mono, an ISO 100 film.  I recently received a roll of this film, and had the opportunity to try it out.  First of all, you should know that only a few factories are actually producing film, and some of them have been very happy to repackage film for sale under a different name.  Lomography doesn't make their own film, but rebrands film made by Kodak, Fuji, etc.  In the case of Kosmo Foto, it's the Foma company in the Czech republic.  The film is Fomapan 100, and in the case of Kosmo Foto, it is the coolest film box I have seen. 

I shot the roll of film in my Nikon N2020 (see previous review of the camera) while on a trip in Michigan's Upper Peninsula in late March. I processed it at home in XTOL (straight) for 6 minutes. 

I don't recall previously shooting any Fomapan 100 (unless it was an Arista brand), but I am pleased with the results that I got. Nice tones, good shadow detail, and the highlights are good.  I was also pleased to see that the film lies PERFECTLY FLAT in the scanner holder. No curling or cupping.  Right away, I am a fan.

I will post a few photos below to show my results.  Crisp is how I would describe the images. All were scanned on my Epson V700 scanner.

At this point, you may wonder why I just didn't order Fomapan 100 and shoot it. I like the idea of these branded films -- whether it's Japan Camera Hunter Street Pan, Kosmo Foto Mono, or Lomography's Lady Grey, etc.  It gets people buying the film, and more film sales keep the plants churning out product.  More product, more choices, more film. Sure, you can just go buy the Fomapan 100 for less than $5/36 exp. roll from Freestyle and get the same results as buying the Kosmo Foto Mono.  However, by purchasing the Kosmo Foto film, you are helping out an enthusiast, too.  The point is, Stephen Dowling, the Kosmo Foto man himself, really likes the Fomapan 100 emulsion -- so much so, that is why he went to all the trouble to create the packaging and rebranding.  There will be lots of people that never would have tried the Fomapan 100, but are willing to buy into the buzz about the Kosmo Foto film.  It's all good. 








Other reviews of the Kosmo Foto Mono
Down the Road by Jim Grey
Emulsive Review
Classic Camera Revival




Sunday, May 10, 2015

KW's Praktina FX

About a month ago, I encountered a Praktina FX while at work.  It was being discarded, as it was time to clean out some storerooms.  K.W. is short for Kamera-Werkstatten, which became part of the VEB Pentacon group in 1964.  KW is better known for the Praktica line of cameras, which were produced to about 1990.  The Praktina, while an SLR, also has a separate optical finder.  Like other cameras of its type in the early 1950s, it does not have an auto-return mirror.  Since the camera is able to use a bulk magazine (450 exposures!) and motor drive, I think that might have made the extra finder useful in such instances.  The Praktina FX was manufactured from 1953-1958.  Unlike the Praktica series, it does not have an M42-type lens mount, but instead has a breech-lock mount, similar to the Canon manual focus cameras of the 1960s-70s.  It was also the first SLR to have a motor drive!

Using this camera was fairly natural, and the only oddity is the lack of a wind-lever.  The lens stops down automatically when the exposure is made.  This model came with a Carl Zeiss Jena Biotar 58mm f/2 lens.  That design was copied in the Helios 44-2 lens used on many Soviet cameras.
I shot a roll of Arista.edu 100 ultra (Fomapan 100), developed in D-76.  Overall, the images were pretty good, though I should test the camera again with a color film.  There is a very faint haze inside the lens.


Here are a few images shot around town.