Nikon FE10 - Hands On Review

 I recently decided that it was time to reduce the number of camera systems that I had been keeping on-hand, so I sold my Cosina-manufactured Canon T60 and lenses that I have had for a few years. I replaced it almost immediately with a mint-condition Nikon FE10 from KEH. I'd been wanting an FE10, because operationally, it was very similar to the T60, as both were made by Cosina. You may not have heard of the FE10, as it was only made for a short time in the mid-late 1990s, and it was not as common as the FM10, also a Cosina body that features only manual settings. 

 Why an FE10? I really liked the lightweight Aperture-priority Canon T60, and the Nikon FE10 is similar, but with more features. Just as lightweight, it comes in at 1 lb 6 oz with a 50mm f1.8 Nikkor, camera strap, and roll of film. Obviously, an ABS plastic body, with that champagne silver and black body that we also saw in the Nikon N60. While it obviously isn't a typical Nikon build, the FE10 has the following features: 

•  Aperture-Priority and Manual exposure, with speeds indicated via diodes in the VF. 
• Shutter speeds B, 1-1/2000 sec (in A mode, up to 8 seconds) 
• Flash Sync at 1/60 and 1/90 with Nikon TTL Speedlights 
• ISO settings 25-3200 
• Exposure lock button 
• Exposure compensation dial built-in with ISO settings. 
• Cable release socket in shutter release button 
• Depth of field preview lever
• Self-timer 
• Film roll window in back 
• Multiple-exposure lever 
• Lock setting on shutter speed dial to conserve battery power and avoid accidental exposures 
• Viewfinder - 93% coverage, with matte focus screen, microprism collar and split-image center spot (Nikon "K" screen) 
• Power- 2 1.5V LR-44 cells (required to operate camera) 

Some Observations - 

Manual Nikon SLRs have the shutter lock when the advance lever is flush against the body and once the lever is brought out about 30 degrees, the meter is activated and the camera will operate. After using Nikons for over 20 years, it's an automatic thing that I rarely think about. However, I recall a couple of times when I put a Nikon FE in a bag and the advance lever got pulled away, resulting in drained cells when I tried using the camera. The Lock setting on the shutter speed dial is a good feature, especially for those that might not have a long history with Nikon SLRs. 

Shutter speed dial set to Aperture-priority

ISO and exp. compensation dial

 Exposure compensation dials are typically separate when they are included on a Nikon SLR - i.e., all AF camera bodies, and on the Nikon FE, FE2, FG, FA, FM3a, F3, and N2000. Manual-only bodies do not require the +\- exposure comp. dial. At first I thought this setup was a bit ungainly on the FE10, but in reality, it does teach how +/- works - you are setting the ISO speed +/- in stops. So, if I have ISO 400 film and I want a stop extra of exposure, I set the dial to the +1, and the ISO speed is set at 50. The only drawback with this setup is that you might forget to change back to the actual film ISO. It's a compromise, but it does work. 

The shutter release does not require much force to activate, but once I got used to it, I had no problems.

Using the FE10 -

 After I received the camera from KEH, I installed 2 fresh LR-44 cells, and popped in a roll of Ultrafine Extreme 400. I have to say that the only thing the FE10 lacked was that new camera smell, (Okay, I confess, there is no such thing). The body looked like it had never been used. 

 I used it with a Nikon SB-18 Speedlight - a small flash that is a perfect match for this camera. I also shot it with several lenses, under different conditions, and I was so sure of the operation of the FE10 that I packed it as my only SLR for a long weekend in Pittsburgh. Once I got used to the touchy shutter release, I found using it to be good experience. The FE10 was a good choice, as I visited some interesting areas, one of which was Carrie Furnaces National Historic Site. There were a few times when I used the exposure compensation dial to accommodate the dark tones of the site. The FE10's simplicity of operation and the Aperture-priority automation makes it a great choice as a street camera. The lighter weight was nice, too. Of course, it's not like a Nikon FE2 (weight 2 lb, 3 oz in a similar configuration) either in sturdiness or feel. It was designed for countries that wanted cheaper cameras with the Nikon badge all while AF bodies were the rage. The FE10 and FM10 may not have been built like other Nikons, but as a "student" camera, I certainly can recommend them. 

 As a backup body, the FE10 would be so light to pack in with the rest of your gear, you might not notice it's there. I'm not going to be a snob and turn up my nose at the FE10, just because it's not made in a Nikon factory. If you want a bit more about the history of this camera - check out this review.  The only manual focus Nikon body I have that's newer is the FM3a. Overall, I found the FE10 to be a good companion on my Pittsburgh trip. I shot 6 rolls of film with it, and all the exposures were to my liking. I'll probably be using this camera in my travels, as I easily packed it in a shoulder bag with a flash and several lenses. I have other Nikons that are better-made, fuller-featured, but heavier. I can see packing my FM3a with the FE10 as a backup on a trip. As a walk-about camera, the FE10 won't weigh me down, and based upon my results, it's a better choice than a 40-year old Nikon FE. 

 And now, for some photos...

Lomography's Lomo Kino Films - Potsdam and Berlin

It's been quite a while since I reviewed a b&w film from Lomography.  Back in 2011, I reviewed Lady  and Earle Grey films. Since then, Lomography has really expanded their line of film offerings, especially in the color emulsions, some of which I have also reviewed.   Lomography's style of branding and their target audience- young, adventurous and film-curious, has made an impact on how film is marketed.  Few people get excited if I asked them about Fompapan 100, but slap a different brand name on it with attractive packaging, and the film gets sought after.  So too, have Lomography's "new" black and white emulsions, under the branding of Lomography Kino films, come into the hands of people that would never have heard of ORWO cine films.  I'll give Lomography credit -- I like their advertising and how they hype up an emulsion, and that's okay.  If it gets more people interested in trying something new, that's great.  Some may even find that a particular emulsion provides an opportunity to be creative with a result that matches their vision.  

This review will cover the two emulsions that Lomography has released under the "kino" name:  Berlin - ISO 400, and Potsdam - ISO 100.  First of all what exactly does Lomography mean by the "kino" (cinema) label?  Who makes this film?   Here's Lomography's description for the Berlin: 

"A Refined Formula for True Film Lovers

Inspired by the New German Cinema sweeping through Berlin in the 1960s, our original Berlin Kino Film emulsion was an utter blockbuster. However, as German cinema evolved through time, adapting to meet the innovatory spirit of its founding fathers, so did our film formula. Refined and brimming with greater artistic control, the Berlin Kino B&W 400 2019 Formula will allow you to capture moments of your life in an eternalized enchanting monochrome. "

and the Potsdam:

 "A Legendary Roll of German Cine Film Reborn

Inspired by the New German Cinema sweeping through Europe in the 1960s, Lomography’s Kino Films are extracted from rolls of cine film produced by a legendary German company that has been changing the face of cinema since the early 1900s. Originally used to make moody monochrome movies, their gorgeous black and white tones lend a timeless effect to cinematic scenes."  

Certainly attractive descriptions of the cine films that are produced by Orwo - N 74 Plus and UN 54:

"Product description: ORWO N 74 plus (Negative Film) is a high speed black-and-white panchromatic camera film for both outdoor and indoor usage. Its wide exposure latitude makes it especially suitable for use under low light illumination and difficult light conditions. 

Applications include documentary films, news coverage, underwater and industrial cinematography. Use of N 74 plus is also recommended under normal light conditions when greater depth of field is needed. The N 74 plus has improved slippage, extremely low shedding and excellent antistatic qualities.  Compare To: Eastman Double X (250 ASA)"

"Product description:  ORWO Film UN 54 (Universal Negative) is a panchromatic medium speed black-and-white negative camera film for both outdoor and indoor usage. According to the ORWO Instruction 4185 the UN 54 film can be processed as black and white reversal film and be used to produce direct positives.   Compare To:  Eastman PLUS X (80 ASA)"

Now you see the difference between descriptions to two different audiences - the film hobbyist and the professional  cine film user.  Based upon the two different descriptions, which would you choose, not knowing they are the same product?  Lomography's, I am sure.   This is an example of many of the "new" films are coming to market for the 35mm shooter.  Whether it's from Lomography, Cinestill, Film Photography Project, Washi, or others - cine films are finding their way into the hands of avocational and hobbyist photographers, and it's all good.

My experience with these films goes back a few years, as I received samples  of the ORWO N74 Plus and UN 54 films in 2016. I'll compare this latest batch of Lomo films with the ones that I received from ORWO.

Lomography Berlin Kino 400 - As Lomography touts - "Capture life’s most elusive moments in everlasting monochrome charm with the 2019 emulsion of our iconic black and white cine film."   I had not tried the earlier Berlin emulsion, so I can't comment on it.   Was the prior emulsion "old stock" from ORWO?  Hard to say, so it's all just conjecture, but my film cassettes do state "New Improved Formula!"   I bought them from B&H back in late 2019.  I love the packaging and the fact that Lomography provides developing information.   I shot my first roll in February in my FM3a,  and the second in my Nikon FE2 in June.  I compared those negatives with a roll of actual ORWO N74+ that I shot in 2016.  These are not the same films.  The N 74+ from 2016 has the typical cine sprocket perfs which are rounded, whereas the Berlin 400 2019 has standard 35mm squared-off perfs.  So, is the Berlin 400 I received something else, and NOT N74+?  Some research reveals that Filmotec (the branding for the ORWO cine film) released N-75 in 2019, with some improvements, rated at 400 ISO in Daylight, 320 ISO for Tungsten lighting.  It's also supposed to have  additional anti-halation undercoat (AHU).  That may explain the difference, as well as my 2016 film has "Filmotec ORWO N74 813717 79A06" in the film rebate. The Lomography film has no film information printed in the rebate.  I feel that the film base is quite dark and darker in the two Berlin rolls that I shot, whereas the ORWO N74+ has a lighter gray film base.  The negatives fit nicely into my scanner holder, without cupping or curling, so that is a plus.  Scan-wise, I think the results are very good, though there is some grain when developed in straight D-76.   The one thing I didn't care for was that Lomography uses a two-piece plastic cassette for this film.  I ended up prying it apart in the dark to remove the film, which isn't optimal.   So, I am fairly sure that the Berlin Kino 2019 emulsion is ORWO N75. Is the New Improved Formula batch that I received the same? That I do not know.

Orwo N 74+ from 2016

Berlin sample 2 with darker base, regular sprockets

Berlin sample 1 with dark base, regular sprockets

Lomography Potsdam Kino 100 - Note that because this film can be developed as a negative or a positive film, it has quite a write-up on the Lomography site.   I have not processed it as a positive, but for a cine film, that is a real plus for those shooting the 16mm version.  I shot my first roll in February in my Nikon FM3a, and the second roll in my Pentax Spotmatic F in June. I compared those negatives to a roll of ORWO UN54 that I shot in 2016.  They all appear to be the same film, except that the ORWO has "Filmotec ORWO UN54 512912 14A11" on the film rebate.  I really like this film, as the scans are beautiful, and there is something about the tonality I really like.  The Potsdam film was developed in straight D-76 for 5 min 45 sec, and the UN54 was done in D76 1:1 for 7 minutes. Results are comparable. Standard metal cassettes are used for this film, or at least for the rolls that I purchased.

Potsdam sample

UN 54 from 2016

Overall impressions - I have other 400 ISO films that I like better than the Berlin 400. It's not bad, it's just that I am not liking the darker film base that to my eye, seems like base fog, and the more noticeable grain.  I much prefer Kentmere 400 and HP-5.  The Potsdam film reminds me a bit of Plus-X, and I do like its rendition of shadow areas.  Of the two, it's one that I would purchase again for landscape photography. 

As with any film - there will be people that find Berlin 400 or Potsdam 100 perfect for what they shoot, and others that won't like it as much as some other emulsion, which is one of the great things about shooting with film.  Try them yourself and see what you think.  It's also important to note that I give kudos to Lomography for providing more information on development, along with examples from different developers.  

A few sample images - scanned with my Epson V700 scanner, post processed with Paint Shop Pro 64-bit.

Berlin 400, Natural Bridge, VA Feb. 2020

Berlin 400, Asheville, NC Jan. 2020

Berlin 400, Natural Bridge, VA, Feb. 2020

ORWO N74+, 2016, Nikon FG

Berlin 400, NC, June 2020

Berlin 400, NC, June 2020

ORWO UN 54, Cranbrook, MI, Pentax K1000, 2016

UN 54, MI, Pentax K1000, 2016

Potsdam 100, Dutchess Co., NY, Feb. 2020

Potsdam 100, Sharon, CT. Feb. 2020

Potsdam 100, Asheville, NC June 2020

Potsdam 100, Asheville, NC June 2020

In the end, both of these films are fine films to shoot with, giving one ever more reasons to shoot film!

Not a fan of the plastic 2-piece cassette!

Wassaic, the town that gets robbed of daylight

Wassaic, New York, is situated between two mountains - one on the East, and one on the West.  Wassaic is actually a hamlet, and is part of the town of Amenia.   This cozy little place nestled in this valley apparently gets the least amount of sunlight of any place in the lower 48 states.  The sun rose about 5:20 the day I took this photo, which was taken about 7:10 am.  The sun was just poking over the mountain and you can see that most things in town are still in shadow.  That will be repeated in the afternoon.  Probably not a good place to be if you are afflicted with SAD.  I like to visit Wassaic with my camera(s), and every time I have been there, the light has been different.  An Amtrak line runs through the town and you can pick up the train nearby and be in New York City in about 2 hours.  Wassaic is also the place where condensed milk was first manufactured, and the former Borden plant still stands, now converted to other uses.  The remains of lime kilns are on a hillside overlooking the town, and they were used long ago in a nascent iron industry.

June 24, 2016, Svema FN-64, Nikon FG

June 24, 2016, Svema FN-64, Nikon FG

 One cannot drive through here without being impressed by the mill-like structure next to the RR tracks. Formerly the Maxon Mill, it has been renovated into an arts center by the Wassaic Project. The Wassaic Project is quite the progressive change for an old mill, and it is a hub of art activity in the area. Visit The Wassaic Project for more information.

June 24, 2016, expired Plus-X, Nikon FM2N

June 24, 2016, expired Plus-X, Nikon FM2N

June 24, 2016 - Svema FN-64, Nikon FG

October, 2015, Ilford HP-5+, Leica M2.

October, 2015 - Lime Kiln, Ilford HP-5+, Leica M2.

October, 2014, Wittner Chrome

October 2015, WittnerChrome

October, 2015,  Wittner Chrome

October, 2015, Wittner Chrome

October, 2015, Wittner Chrome

March, 2014, The Borden factory.  Arista Ultra 100

Built in 1861, this was the first condensed milk plant, located in Wassaic, NY.  Noah Gridley, convinced Gail Borden to build his plant in Wassaic.  The building is now owned by the Pawling Corp., and they maintain a visitor's center there.

March, 2014. Inside the Lime Kiln. Arista Ultra 100.

March, 2014. Arista Ultra 100.   Scan of a print. 

The old Maxon Mill is quite photogenic, and is now a functioning art center, thanks to the Wassaic project.

As you can see, this is more of a photo essay than my usual ramblings on cameras.  I have been on quite a few photo trips lately, and am trying to produce more posts like these.   Why Wassaic, since I live in Michigan?  My wife Adrienne is from Amenia, NY, so whenever we visit family, I try and spend a bit of time photographing the area.  It was not until the spring of 2014 that I realized Wassaic was so interesting, so I have no older images from way back. I wish I had been doing this kind of photography 38 years ago!