Moving from 50mm to 35mm as the “normal” lens

 

Nikon FE 10 with Series E 35mm f/2.5 lens

For the good part of almost 50 years, I have considered a 50mm lens to be my “normal lens” for a lot of my photography, no matter what 35mm system I used.  For good reason, the 50mm lens was typically the “kit lens” and what was affordable at the time.  My first SLR was an Exakta Exa 2a with a 50mm f/2.8 Meyer-Optik Domiplan.  Cheap at the time (1974), and that's the ONLY lens I had for that camera for nearly a decade.  My second SLR was a Pentax ME in 1983, and I bought it with a Takumar 50mm f/2, and a 135mm f/2.8 lens at Service Merchandise in Ann Arbor, MI.  Again, that 50mm lens was my main lens until the year 2000, when I decided that I was going to get serious about photography. Since then,  the many SLR cameras and systems that I have owned have always had the 50mm prime lens as  my every-day lens.  You name it – Pentax K-mount and M-42 bodies, Minolta SLRs, Olympus, Miranda, Zenit, Nikon, Canon, Yashica, Fujica, Topcon – all had a 50mm lens as the primary lens.  Now, within that 50mm range, are lots of variations, and some amazing glass.  While I most often liked using a 50mm f/1.4 because of low-light shooting as well as shallow depth of field, some of the lenses such as the Minolta 58mm f/1.4 really is a fantastic lens.  However, I am a Nikon guy for the most part (aside from my Pentax Spotmatic love), and my typical lens has been anything from a 50mm f/2 (one of the sharpest lenses on the planet), to the pretty good 50mm f/1.8, to the every-day use 50mm f/1.4, and the 55mm f/1.2 Nikkor – which is a bit of a beast.   Now I have a LOT of different lenses, and use them according to the situation.  However, I'll bet that 70% of my images have been taken with a 50mm lens.  

35mm f/3.5 Super Takumar, Kentmere 400 film

A 50mm lens typically has a field of view of 39°, whereas a 35mm lens has a field of view of 62° - certainly wider, but not as wide as 28mm, which has a field of view of 74°.  A 16mm fisheye lens has a 180° field of view, in case you are interested.  So, with that significantly wider view, the 35mm lens shines in being able to capture more in a scene, if that appeals to you.  For one thing, you don't have to back off as much to get things in the frame, making it a great choice for street photography.  I find that it's also great for natural scenes as well, and for landscapes, it gives a more normal view.

35mm f/2 Super Takumar. Ultrafine Extreme 100 film

35mm f/2 Super Takumar, Ilford HP-5

Previously, the only camera that almost always was paired with a 35mm lens is my Leica M2 and the fantastic 35mm f/1.4 Summilux.  A great travel combo, and that should have told me something, right?  So, I am starting to change.  This summer, I used a 35mm f/3.5 on my Pentax Spotmatic, and really came to appreciate the slightly wider view on my Takumar Trek (see previous posts).  I started using my 35mm f/2 Nikkor on my Nikon bodies, and it's a fantastic lens.  Again, I used it on a recent trip to Lexington for a lot of my photography, and that slightly wider view became my “normal” view. For street photography and landscapes, as well as architecture, 35mm is a great choice.  It's hard to believe that it's taken me this many years to fully grasp how great a 35mm lens is for what I like to shoot.   

Leica M2, 35mm f/1.4 Summilux, Fomapan 100.

For a lot of things, the 50mm range is still very useful, and I'd never give them up.  But for travel, street photography, and the types of subjects that I enjoy, I'll be using 35mm lenses a lot more.    I am a prime lens enthusiast, but if you have a 35-70mm zoom, that'll work too.  In the Nikon world, there are several different 35mm lenses – if one looks at old and new, and in many cases, the lenses have not changed appreciably from non-AI (non Auto Indexing – see my post on Nikkormats for a full explanation) to the AIS versions, except for coatings.  In the auto-focus world, there are fewer choices, and I assume that there have been some changes made.  

35mm f/2 Nikkor, Ilford HP-5

NIKON 35s:

Nikon F with the 35mm f/2.8 and the 35mm f/2 non-AI lenses

    • 35 mm f/2.8 Nikkor  - introduced in 1959, this lens was a non-AI lens.  I have one that I keep on my plain prism Nikon F.  By later standards, it's not the greatest 35, but it's okay.

    • 35mm f/3.5 PC Nikkor – This is a perspective control lens, as the front elements are able to shift along one plane to keep the camera parallel to the subject, so it's a special lens for architecture, and could also be used on a bellows for product photography.

    • 35mm f/2 Nikkor – This faster 35mm lens is optically superior to the f/2.8, and was hugely popular with photojournalists. It's that wider view that aids when closer to the subject, and the more modern AIS version is what I am using.  

    • 35mm f/1.4 – Introduced as a non-AI lens, this was also popular with professionals, and is sharp corner to corner.  A highly regarded lens that remains popular in whatever version. Alas, I have never used one.

All these non-AI versions above were upgraded to AI mounts in 1977. Then again, in 1982, to AIS.  

Nikon FM3A with the 35mm f/2 AI lens

    • 35mm f/2.5 Series E – actually, a nice lightweight and compact lens that works well with the compact bodies such as the FG, EM, and FE10.   

    • 35-70mm f/3.3-4.5 – if you want a short zoom – this is a good choice.  Very sharp at all focal lengths.

    • 36-72mm f/3.5 Series E lens – a short, lightweight constant aperture zoom.  I consider it to be underrated. 

 Nikon AF lenses

    • 35-70mm f/3.3-4.5 AF  and AF-D– A good choice for a carry-all short zoom. 

    • 35mm f/2 AF and AF-D - Excellent, like the manual version, but also focuses closer.  

    • 35-70mm f/2.8 AF and AF-D – a big lens with a 62mm front filter ring, this push-pull zoom is very sharp, and at the 35mm end, it is cable of 1:4 closeups.  Add a diopter on the front for even more magnification.  This is a great lens, though I consider it to be very beefy as short zooms go.

    • 35-80mm f/4.5-5.6 AF-D – A kit lens that Nikon sold with The N50 ad N70 cameras, it's not fast nor great, but like any kit lens, it will do well enough for the users it was intended for.

PENTAX

My favorite SP body with the diminutive 35mm f/3.5

Spotmatic (M-42)

    • 35mm f/3.5 Super-Takumar – compact, and while not fast, it's great!

    • 35mm f/2 Super Takumar  – with a 67mm filter ring, this is not a tiny lens, but it is fast.  I highly recommend it if you can find one.

The two 35s from Asahi Pentax in M-42 mount

M-42 non-Pentax

Due to the longevity and sheer numbers of cameras that used the M-42 mount, you'll find a variety of 35mm f/2.8 lenses available.  They may have the names Albinar, Chinon, Vivitar, Makinon, Soligor, as well as Carl Zeiss Jena Flektogon, Meyer Optik Primagon, etc.  There is a fast 35mm f/1.9 old Vivitar lens that is supposedly very good.  If the thrill is in the hunt, you'll have fun looking for 35mm screw-mount lenses.

Soligor 35mm f/3.5 M-42 mount lens

K-mount

Pentax released a number of lenses in K-M, K-A (to be able to operate in P mode), as well as AF and Digital versions.  I am only listing the manual lenses.

    • 35mm f/2

    • 35mm f/2.8

    • M-35mm f/1.4 (58mm filter ring)

    • M-35mm f/2.8, M-35mm f/2 – both have 49mm filter rings

    • M-zoom 35-70 f/2.8-3.5

    • A-zoom 35-70mm f/4

    • A-zoom 35-70mm f/3.5-4.5

non-Pentax K-mount

    • Tokina SL 35mm f/2.8

    • Chinon  35-70mm f/3.5-4.5 MC Macro zoom

    • Rikenon P Zoom 35-70mm f/3.5-4.5 Macro (maybe the same lens as the Chinon?)

MINOLTA

    • 35mm f/1.8 MD 

    • 35mm f/2.8 MD – I have used one of these, but it's been a while.  Like many MD lenses, it was also made earlier with an MC desgnation.

    • 35mm f/1.4 and 35mm f/2 Maxxum (now Sony Alpha) 

CANON

    • FL-mount (can be used with FD cameras, too)

    • FL 35mm f/2.5 – 58mm filter

    • FL-35mm f/3.5 – 48mm filter

    • FL-35mm f/2.8 “pancake” lens, 48mm filter

FD-mount

    • FD- 35mm f/2 S.S.C.  55mm filter

    • FD- 35mm f/3.5 S.S.C. 55Mm filter

    • FD- 35mm f/28 TILT-SHIFT  S.S.C.  - tilts and shifts – fantastic choice for architecture.  

    • FD -35mm f/2.8 S.S.C. 52mm filter

    • FD- 35-70mm f/3.5 zoom – with its “macro” setting, it can provide some very good close-ups.

EOS-mount 

    • EF- 35mm f/2

    • EF -35mm f/1.4 USM L – expensive!

OLYMPUS

    • OM Zuiko 35mm f/2

    • OM Zuiko 35mm f/2.8

    • OM Zuiko Shift 35mm f/2.8  - a perspective control lens

While I haven't listed every single 35mm lens out there, this list is at least be a starting point.  There are lots of 35-70mm zoom lenses that I have not listed, and that may be a good choice for you, but remember, those zooms won't usually have as large an aperture as a prime lens. 

Last, but not least, Leica R4 with a 35-70mm f/3.5 Vario-Elmar

No matter what 35mm SLR system you use, or rangefinders with the M-39 Leica thread mount  or Leica M mount, there exists a 35mm lens to get you a bit wider view.  

Batteries and Cameras!

I thought it might be useful to publish a post with useful information about film cameras and batteries.  After handling many hundreds of cameras over the course of years of  selling estates and getting cameras ready for the FPP School Donation Program, as well as doing my own thing with my own photography, I find that it's been an overlooked topic, so I hope that you find this a helpful resource.

A typical manual SLR needs just  1.5 - 3V to run the exposure system

One of the things about using film vs digital cameras, is that in general, film cameras need far less power than their digital counterparts. Don't forget that that digital wonder is basically a small computer with a viewing screen, operating an auto-focus system.  All that takes a considerable amount of stored energy in a battery such that digital cameras usually operate with rechargeable Lithium-ion (Li-on) or Nickel-Metal Hydride (NiMH) batteries.  Since film cameras usually need far less power, they typically use small button or penlight cells. In fact, film cameras that lack meters or any electrical operation do not need any battery power at all. A Nikon F only needs a couple of button cells to operate the Photomic head with a meter.  It can easily be used without any battery power whatsoever. An Argus C3 doesn't need a battery, nor does a Leica M3.  Most SLR cameras that were sold before the late 1970s only need a battery to power the light meter, and lacking that, work just fine without power, although you may need an external light meter or maybe you just want to use Sunny-16 or the Black Cat Exposure Chart.  Once the 1980s kicked in, cameras became more sophisticated, and required more power, especially if the camera is an auto-focus model.  All those little motors in the lenses, film winding/rewinding, exposure systems, and flashes require more power, which led to larger batteries or battery packs in the camera bodies.  In many SLR systems, an external winder may use 4-8 AA cells, which of course adds significant weight.  As manufacturers refined the winding systems, by the time auto-focus SLRs became available, the power to run them was contained in a 6V battery, or 2 3V batteries that fit easily into the grip.

Adding automation requires more computing/battery power.

Light meters have typically required one or two button cells in a camera. Before the 1980s, cameras that required power for the light meter almost always used Mercury cells.  The reason is that Mercury cells gave out a continuous 1.35 V and lasted a long time, and when they went dead, that was it. There was no slow decline in voltage that would give bad meter readings. Then, Mercury compounds were found to leach into the waste systems in landfills, etc., and the Mercury cells were banned.  Probably far more cells were used in those light-up sneakers that kids wore than all the cameras ever made. Anyhow, that was the end of them, and older cameras that used those cells were often replaced with newer models by the owners, or the owners scoured the stores for old stock Mercury cells. Old stock cells were still available online until at least 2002.

Cell versus Battery
People often call 1.5 v cells batteries, but technically, they are not. A battery is a group of cells producing a larger output of power than a single cell.  Button cells, AA, AAA, C, D cells are not batteries.  A 9V transistor battery IS a battery, as are any of the batteries that are more than 1.35 or 1.5V. Your 12 volt car battery contains a bunch of lead-acid powered cells that when joined together, provides 12 volts. Generally, we just lump these power sources under the term battery in common usage, but it's good to know the difference.

Button Cells
Button cells are extremely common in film cameras, especially SLRs, where they typically power the meter and some electronics.  They are ubiquitous, and their compact size and 1.5V output usually has them installed in cameras in pairs, so that they provide a 3V output.  The most common size is the Alkaline LR-44 cell, followed by the 76S - which is identical in size to the LR-44, but is a Silver-Oxide cell that provides 1.55V with a longer life than the LR-44. A less common button cell in later cameras is the PX-625A. It's now mostly used to replace the PX-625 Mercury cells, but it has a higher voltage than the cell it replaces which may cause meters to be a stop or so off in the readout.

AAA and AA cells
Yes, these are what us old-timers call penlight batteries.  They are most typically used to power flashes, and in many older point-and shoots, they provide all the power for the camera functions.  Some auto-focus SLRs used them too. The Nikon F100, N90, N8008, and the N2000 all use AA cells as they provide enough power for many rolls of film before they poop out.  In addition, the AA and AAA cells are easy to find, unlike some of the esoteric batteries that I will now discuss.

Lithium batteries.
These batteries use more modern technology to deliver lots of power yet, remain compact enough to use in a camera. The late 1980s saw these start to be used in a variety of caameras, but most notably in consumer-level auto-focus SLR cameras. There are a bewildering number of battery types out there, and sometimes you'll find an oddball battery that may cost as much as your $15 Nikon that you found at the thrift shop.

Nickel Metal Hydride - NiMH Batteries
Typically, these are rechargeable cells, such as AA and AAA.  They can be used in place of the Alkaline cells of the same size, and the prices are very low.  They make a lot of sense for power-hungry flash units, and can usually be recharged a at least a hundred times before they need to be replaced.

Oddball Alkaline batteries 
The first one that comes to mind is the 6V 4LR44 battery which is used in the Canon AE-1 and AE-1 Program, as well as the Pentax 6x7.  Another is the 6V PX27G.  In some cases you can take 4 LR-44 cells and tape them together to replace a 4LR44 battery (which seems to be the reason for that designation).  If you have a Yashica rangefinder camera, you'll also be looking for oddball cells, so look at http://yashica-guy.com/document/chrono2.html for more information on your Yashica rangefinder camera.

Nickel-Cadmium cells
NiCds were popular in the 1970-80s for rechargeable battery packs, especially in professional cameras such as the Hasselblad EL, the Rolleiflex SLX, and in various flash units.  They fell out of favor when Lithium-ion and Ni-MH cells became more common and cheaper in the 1990s.  NiCds also have fewer recharge cycles than the newer technologies.  However, in some of the cameras that required them, you can still source re-built NiCd packs.  Cadmium is a toxic metal, and the old cells need to be disposed of safely.  Some cameras that took AA alkaline cells warn against using NiCd cells because they typically only provide 1.2V each.

What about those cameras (and light meters) that used Mercury Cells?
There are a few solutions:
1. Replace the cell(s) with an Alkaline equivalent.  The PX-625A is going to be the most common replacement.  Of course, it will provide 1.5, not 1.3 volts, and may affect your meter reading.  Some cameras use a circuit that the higher voltage still gives an accurate reading. You can compensate with the cameras that are affected by setting your ISO dial to a one stop lower setting.  That is, if you are using ISO 400 film, set the dial to ISO 200.  To be honest, with C-41 films and most black and white films, there is enough latitude that it won't make a huge difference.  You can check it against sunny-16 using a gray card and see what your meter reads. If it's off, you'll know what direction to change it.
2. Replace with a Wein cell - these are basically a modified Zinc-air hearing aid cell with an adaptor to fit the PX-625 chamber.
3. Replace with an appropriate-sized Zinc-air hearing aid cell, and use a spacer to keep the cell in place in the battery chamber. The Duracell 675 hearing aid battery will work in many of the cameras and light meters that require a mercury cell. You may have to shim it in place to not move around.
4. Purchase an MR-9 adapter (http://www.criscam.com/) and use a 76S or LR-44 cell.  The MR-9 adapter contains a diode that drops the voltage to 1.3V, and while it may seem a bit pricey, it can be moved from camera to camera as needed.  It's the best solution if you want to use a Luna Pro light meter.
5. You can use the camera without powering the light meter, and use an external meter instead.  However, some cameras, such as the Nikon FE, require power to fire the shutter at any speed because the aperture-priority mode requires power, whereas the Nikon FM is fully manual, and the shutter can work without power. The Pentax K1000 and the Pentax Spotmatics are also fine without using a battery for the meter, as are most M42-mount SLRs.  Many of the older Canon  SLRs such as the FTb work fine battery-less.  You just have to use an external meter.

NOT ALL CAMERAS NEEDED BATTERIES FOR METER POWER
There are numerous cameras that used solar cells to power the exposure system.  The Olympus Trip 35, Konica EYE, and the Canon DEMI are good examples.  Most of the examples date from the 1960s and 70s.  A ring of cells around the front of the lens is a sure bet that the camera is powered by a Selenium meter.

STORAGE
It makes good sense to store your camera without the cells or battery in it if you are not going to use it for awhile.  This holds especially true for cameras that use AA aand AAA cells - which will leak over time and ruin the camera.  I can't stress this enough. I have seen far too many contacts ruined to the point of no-return by leaking AA cells.  Whether it's a camera or a flash unit, remove the cells before you put it away for any length of time.  Button cells seem much less likely to cause problems in storage, nor do Lithium batteries.  The real culprits are the AA and AAA cells which can do the damage when they leak over time.

You can store fresh batteries in in the fridge if you wish to prolong their storage life, but I have never tried it to see if it makes a difference.  Certainly high-heat will degrade them, since chemical reactions are accelerated by higher temperatures.


BUYING BATTERIES
With the advent of digital photography, the market for camera batteries shifted to rechargeables, and the prices for non-rechargeable camera batteries have gone up.  If you look for a CR123A battery at your local store, be prepared for sticker shock.  I buy most of my button cells and Lithium batteries online, either via Amazon or eBay.  A pack of 100 LR-44 cells can be had for less than $15 online.  There are plenty of online sources for batteries, but I still buy my AA and AAA cells  locally.

BATTERY CROSS-REFERENCE CHART - Not all manufacturers use the same numeric designation for a particular size, but this chart will be helpful.

CAMERAS AND POWER SOURCES (obviously NOT a complete list, but it's a starting point)

PX-625 Mercury cells:
NIKON - F Photomic prism, Nikkormat FT, FTN;
CANON- QL-17, EXEE, F-1, FT QL, FTb, FX, Canonet 28, TL, TLb, TX
OLYMPUS - OM-1
LEICA - CL
MINOLTA - SR-T series, Hi-Matic 7, 7S, 7SII, 9;
PETRI - Color 35,
KONICA - Auto S, Auto S2, Auto S3, Autoreflex T, Autoreflex TC, C35, FP,
KOWA SE, SET; ROLLEI 35,  YASHICA TL-Electro-X,

PX-400 Mercury cells 
A great number of Pentax Spotmatics used this size Mercury cell.  However, you can use a silver-oxide cell without fear of affecting the exposure accuracy.  The Spotmatics use a bridge circuit so that whether the source is 1.35V or 1.5V, you'll get the same result.  I recommend using a 392 (LR-41) silver-oxide cell for the Spotmatic SP series, and a PX625A for the Spotmatic F.

PX-27 Mercury batteries (5.6V)
MINOX LX, Minox 35 series;
ROLLEI 35 TE, ROLLEI 35 SE, ROLLEI 35 LED

LR-44 or S-76 cells (1.5V) 
(Typically there are 2 in series, for 3V total. You can often use a 1/3N battery, which replaces 2 LR-44 cells. They tend to be more expensive than the 2 LR-44s , though.)

NIKON - Nikkormat FT2, FT3; Nikon FM, FE, F2, F3, FM2, FM2N, FE2, FA, EM, FG, FG-20, FM3A, FM-10
CANON - T60
OLYMPUS - XA series, OM-2, OM-10, OM-4, OM-PC
PENTAX - K1000, ME, MG, LX, Super Program, P30T,
MINOLTA - X370, X570, X700; CLE, XD series, XG series,
LEICA- R4
YASHICA - CONTAX - Contax 139, Yashica FX D, FX-3, FX-7,
KONICA - FP-1

AA
CANON- AF35ML, Sure Shot AF10, T-50, T-70, T-90
NIKON - N4004, N8008, N90, F100, F4, F5, L135AF,
KONICA- FS-1, MG, TC-X
MINOLTA 9000

AAA 
CANON AL-1,
KONICA FT-1
MINOLTA MAXXUM 5000, 7000
NIKON N2020

4LR44 (6V)(= PX28, A544, 476A)
CANON AE-1, AE-1P, A-1, New F-1, AT-1, AV-1
NIKON Nikkormat EL, EL2
YASHICA Electro 35CC, Yashica FR, Yashica FX-1,

CR-2 Batteries (3V) (Most SLRs use 2)
NIKON- APS Pronea 6i, N55, N65, N75
PENTAX - MZ-S, Z-5, MZ-10, ZX-10,
CANON-  Rebel 2000,  Rebel K2, EOS IX, Sure Shot 130u, Sure Shot Classic 120
MINOLTA - QTSi, XTSi, Maxxum 5, HTSi 
CONTAX G1, G2, T3,


CR-123A (3V) (Most SLRs use 2)
NIKON - N60, N80, N70, One-Touch 90 Zoom,
CANON - EOS Rebel G, ELAN 7, EOS 30v, Sure-Shot 105 zoom, Sure Shot 60 zoom, Sure Shot 70 zoom, Sure Shot 80 zoom, Sure Shot A-1, WP-1, Sure Shot M, Sure Shot Max
MINOLTA - Maxxum 7, Maxxum 9
YASHICA T4
CONTAX T2,


CR-223 or DL223A (6V)
may replace 2 CR-123 in some cameras

2CR-5 (6V)
CANON- EOS 650, EOS 620, 750, 850, 100, EOS 3, A2E, Sure Shot Zoom XL, EOS-1V
NIKON - N50, N6006
MINOLTA - 7000i, 9xi
PENTAX- SFX, SF-1; SF-7, SF-10;
KONICA Hexar, Yashica T2


Okay, you have read this far!  If you have a fully manual, non-meter camera such as this one, no battery needed!   You are ready for that desert island trip.

A Quick Review of the Olympus 35 LC Camera

If you ask film users about Olympus 35mm rangefinder cameras, there is no doubt that you'll hear about the popular Olympus 35 RC, the Olympus XA, and probably the Olympus 35 SP. It's unlikely that you'll hear a peep about the Olympus 35 LC.  While the 35 LC was produced from 1967 to perhaps 1970, it just does not seem to be as commonly seen as the subsequent Olympus rangefinder cameras.

Last year, I happened to come across an Olympus rangefinder camera that I had never seen before.  The Olympus 35 LC is an interesting 35mm rangefinder with a CdS light meter.  It's not auto-anything, and is somewhat on the large size, compared to the later Olympus 35 RC.  The 35 LC features a 42mm f/1.7 Zuiko lens, shutter speeds from 1 sec to 1/500 sec + B, an ISO range of 10 to 800, and an easily focused lens with a lever on the lens barrel.  This is a nice all-metal camera, with a very quiet shutter.  There is both a PC socket and a hot shoe for the flash.  The meter needle shows both in the viewfinder and in a window on the top deck of the camera.  The meter requires a mercury cell for 1.3 V, but I used a 1.5V silver-oxide cell, as that will be close-enough for b&w and C-41 films.    The bright-frame viewfinder is large and has parallax correction.  The RF focus patch is easy to see, making the camera a joy to focus.  No squinting into a tiny window with this camera.    Since the CdS meter window is inside the lens ring, you can use filters and the camera will meter through them for proper exposures.

The Olympus 35 LC stands out as being larger than the compact 35 RC.  Released in 1967, it predates the smaller SP and RC rangefinders by 2-3 years.  The 35LC dimensions are  138 mm W x 81 mm H x 70 mm D. Compare that to the 35 RC, which is 110 mm W x 70mm H x 50mm D.  While it's a larger camera, it feels right in the hands, much like a Konica Auto S2. 



The Olympus 35 LC features:

• Lens: G.Zuiko 42mm f1.7, 7 elements in 5 groups, 55mm filter ring
• Apertures: f/1.7 - f/16
• Shutter: Copal-X, speeds B, 1-1/500 sec.
• Meter: CdS cell, inside the filter thread
• Viewfinder: Bright frame viewfinder with parallax correction.
• Film speed: ASA 10 to 800.
• Self timer: on lens barrel
• Tripod socket centered 
• Flash- PC  socket on left side, standard hot shoe, x-sync only
• Power: 1.3v mercury for meter - I used a 1.5 V cell with good results.
• Weight: 660 grams.

The meter is actuated by a button on the top right of the rear of the camera body. You can use the top-mounted display to see where your settings are centering the needle (or not), or you can use the display that appears in the viewfinder.  There is no auto setting. 

The camera has a fast 42mm f/1.7 lens.  The 42mm focal length makes it just slightly wider than the standard 50mm that we consider "normal."  By comparison, the Olympus 35 RC has a maximum aperture of f/2.8 with its 42mm lens, which makes it more compact, but definitely not as capable.  The shutter speed range on the 35 LC is B, and 1- 1/500 sec, with all of the standard intervals.  You can use any 55mm screw-on filter, and the CdS cell will give you an accurate reading through the filter. Of course, with a polarizer, you won't be able to see the maximum effect like you would in an SLR.

I find the camera to be pleasant to use. The focus ring has a lever to grip, and the focus range is just under 3 feet to infinity.  The outer ring on the lens barrel comtrols shutter speed, and the inner ring controls aperture. Each has a different feel, making the operation easier without looking.  The shutter is very quiet, and the film advance is a single stroke.  It's not as light as my Olympus Trip 35, but then again, this is a far more capable camera, not a point and shoot.  I love the logo on the front -- rather old-school, and it looks like a quality camera.   I see the 35 LC on eBay for around $100 for good examples.  As a quality camera, this is a steal.

As always, the proof is in the results. 

Marquette, MI, Tri-X

Ann Arbor, MI. Tri-X

Collingwood, Ontario, Polypan-F

Collingwood, Ontario, Polypan-F

Collingwood, Ontario, Polypan-F

Ann Arbor, MI, Polypan-F

Collingwood, Ontario, Polypan-F

FINALLY! Ann Arbor Gets a Real Camera Store!

They are still stocking the store, but stop in, anyway.

A few months ago,  I had heard a rumor about someone opening a camera shop in Ann Arbor, but the details were somewhat vague.  Then a few weeks ago, I found out that a store with the name Camera Mall was going to open soon.  A week ago, I walked over to the store on East Washington, less than a block from N. State Street.  A few other fellow crappy camera club folks had already been there.  I walked in, and was greeted by the manager, Desmond Kolean-Burley, and it seemed a bit surreal to be standing in a store with lots of shiny new cameras and gear.  In Ann Arbor.  It has been a few years since we have had that opportunity. I had a great chat with Desmond, and he was busily getting the store stocked and ready for business.  Today, I went back down, and I wasn't the only other person in the store, and the stock was being shelved as quickly as they could do it.  You can bet I had a case of lens lust, seeing so many lovely new lenses in the glass case.  I bought some packs of film (and yes, they will be carrying Impossible Project film), and chatted for a while.  It's obvious that Desmond knows his stuff, and the location is great - close to campus, close to the heart of downtown, and parking is nearby.  I can only hope that folks go and buy their stuff their and support Camera Mall's effort!

Camera Mall is located at 518 East Washington Street, Ann Arbor.  You can reach the store at  734-997-5031.  Desmond indicated that the stock is still coming in, and I suspect that by the end of April everything will be in place.  However, you can certainly buy lenses, bodies, film, used film cameras, digital cameras, etc. right now.  I think the store will also be operating a photo lab.

To Desmond and the other Camera Mall folks (out of Muskegon, MI) -- Welcome to Ann Arbor, and thanks for taking a chance on us!

The Olympus Macro Stand + bellows

Back in early October I picked up an Olympus macro photography stand with the matching bellows for an Olympus OM-series camera. It's quite similar (but better-constructed) than the Minolta macro set-up that I used to own. I rarely use film for macro-photography anymore, but at a price of $25, I could not pass up the Olympus macro stand. As you can see in the photograph, I have it it set up with my OM-1 and a 50mm 3.5 Olympus macro lens. By itself, the lens does 1/2 size (1:2) maximum magnification. With a typical set of extension tubes, one can go a little larger than 1:1 (life size). With a bellows, you can go several times life size, if you want to shoot small objects, or magnify parts of larger subjects. The problem with a bellows and extension tubes, is that the working distance (the distance from the front of the lens to the subject) is very small -- from a few inches to fractions of an inch, depending on the extension. In addition, there is significant light falloff, shallow depth of field (DOF) and movement is magnified. So, the easy way to avoid some of the drawbacks is to use the camera like a microscope, by keeping the assembly locked down to a solid rail as you can see here. Typically, one would use a ringlight or a couple of small flashes near the subject for great DOF at f/16 or f/22 and to avoid camera shake. However, you can also use fiber-optic lights, and other high-intensity LED lights to get proper lighting at these close distances. The other thing to note is that there are two remote-release cables. One is for the lens (to activate the aperture prior to making the exposure, and the other operates the camera shutter. That is typical for bellows, as the lens is not linked to any actuating mechanism on the camera body.

I took a few shots with the OM-1, and here is the side of the thorax of a Canada darner dragonfly. I would imagine that if you had an OM-series adapter for your DSLR or Olympus Pen (digital), it would be a great way to shoot small things. Macrophotography is one of the great things about shooting digital!