Out and About with the Argus CR-1 SLR

Welcome to a review of yet another Chinon M42-mount SLR, albeit badged as the Argus CR-1.  Chinon produced the CR-1 in 1975, and in fact, produced a series under the CR line, the CR-1, CR-2, and CR-3E.  While bearing the Argus logo, it appears that Argus did not distribute the cameras, but were distributed by the IMC Division of Interphoto Corporation.  The first thing one notices about this SLR is the strange flattened curvy prism housing.   I actually like it, as it's a big change from what everyone else was doing. However, it also bears noting that the Voigtlander/Rollei SL35 of 1976 has a similarly shaped prism housing.  The second obvious thing about this camera is only apparent when you hold it - it's a beast, and built like a tank.  Much of my information about this camera comes from Henry Gambino's excellent book, "Argomania."  However, Mr. Gambino made an error when he said the camera has a cloth focal plane shutter.  It's not - it's a metal-bladed, vertically travelling Copal Square shutter that was commonly seen in Cosina and Chinon cameras.  The shutter has the typical B, 1-1/1000 speeds, and the ASA markings go from 10 to 1600. The metering is stop-down, and the meter is actuated by pressing halfway down on the shutter release, with the typical +/- metering needle indicator on the right of the viewfinder.   

Simple control layout, nothing you don't need.

My example of the the CR-1 came with the 55mm f/2 Argus Auto-Cintar lens, which has the matching indentations on the focus ring that you see on the shutter speed and rewind dials. I purchased the camera on eBay  in November 2020, and paid $30 + shipping. When I was actively engaged in Argus collecting (2002-2011), the CR series SLRS would often show up at camera swaps, and because they were not actually made by Argus, I was not that interested in them. I remember someone selling new in box CR-1s that were probably bought when stores were dumping excess inventory, when somewhat generic M42-mount cameras could no longer compete with the K-mounts, Canons, Nikons, and Minoltas of 1980.  

Once I was sure that the camera worked as advertised, it became my "keep in the car" SLR.  I also paired it with with the lovely Zenit Helios 44-M 58mm f/2 lens. With black and white film in it, it's always there should I need it.  

Paired with the Helios M-44 58mm f/2 Soviet lens and
a vintage Argus-branded flash unit.

Two features on the camera that I really like - the locking collar around the shutter button to prevent accidental exposures, and the large shutter button.  That Copal Square shutter sure makes a loud kerchunk when it fires, so there's no question that I have taken a photo.  The body has a typical hotshoe on the prism as well as PC connectors from X and M next to the lens mount.  The flash sync is 1/125 sec.  While I have read that the CR-1s have a decal with the model name, mine is definitey engraved on the front. The camera with a lens weighs 2.5 pounds, which is pretty hefty.  The tank-like build reminds me of the Ricoh Singlex TLS from the late 1960s.  

Overall, the CR-1's design is its standout feature, as it has pretty much the same features as most M-42 mount SLRs of its time. The beauty of the M42 mount, or Praktica Screw mount is that you can find lenses for it for almost nothing.  As I have written before on RCB, there are a lot of wonderful M42 SLRs out there, with the Pentax Spotmatic F at the top of my list.  The Argus CR-1 is no Spotmatic F, but it sure isn't a  Zenit, either.  Chinon made a lot of SLRs, but the CR-1 stands out from the crowd. Note, if you live in Europe, you re more likely to find a Photo Quelle Revueflex 1001, which is the same camera, but with a different name.

Here are a few images from my CR-1, loaded with Ultrafine Extreme 100 film, developed in D76 1:1.

Dogwood buds in March

Big Creek

Big Creek falls

Riverside Arts District

Giant Allium going to seed.

Tired doggy

Sunny Daisies

The Camera in the Console

The original Olympus Infinity Stylus

Several weeks ago, I was doing some clean-up inside my Ford Escape, and pulled out the old Olympus Stylus that had been sitting in the bottom of the center console storage compartment.  I don't recall how long I had kept it there, but it had a fully shot roll of Ilford HP-5+ in it.  It is the first version of the Stylus, as it has the 35mm f/3.5 lens, and it certainly is a good picture-taker.  I suppose that I had put it in the console so that I would always have a film camera available if I needed it.  That's not a bad idea, of course, and I was smart to use a b&w film to reduce the effects of the ravages of heat in the car.

So, yesterday I developed the roll of HP-5+ that was in the camera, and it must have been in the car at least 3 years.  There were lots of photos from Ann Arbor, a couple from a trip to NJ to record FPP segments, a stop for ice cream in Perry, MI, and some from places I can't quite figure out. The idea of a small camera that's available on a whim is a good idea, but I think I should have kept a small notebook to record where I took the photos.  Of course, maybe if it hadn't been in the car for 3 or 4 years, it would not have been so difficult to remember!

There is something to be said for the developing of a roll of film that's been forgotten about. Often times, we get surprises and find little vignettes that we had forgotten about but were important enough to photograph at the time. Of course, in my case, I photograph so much that's its almost like breathing.  

One of the big advantages of using a smart phone to shoot serendipitous images, is the fact that it records the location data and date of each image file. That's been very useful for me over the years, as I have had to recall where I was at a given time.  While the Olympus infinity doesn't have that capability, it does a good job of recording a scene onto a piece of film.  Of course, looking at the film later, leaves me with questions, and maybe that's a good thing. We need to use our brains to figure out puzzles, and as we age, it gets even more important.  

Here are a few images from the roll of film. The HP-5+ was developed in HC110-B for 6 minutes.

The Huron River in Ann Arbor, March, 2018.

This used to be a fire dept. substation in 1950. On Platt Rd near 
near Packard, in Ann Arbor.

Unicorn Sprinkles, Perry, MI.

King Cone, Perry, MI

From the car, St., Charles, MI

I had a lot of these that I shot while in traffic.

I think this barn is near Sharon Hollow, MI.

Funny, if you look at my post previous to this one, you'll see
 the finished product. Circle K gas station on Stadium  Blvd,
Ann Arbor,

I must have liked the "Hug A Beaver Today" sticker.

Well, there you have it. By the time I finished writing this post, I had figured out not only where most of the shots were taken, but where I was sitting in the car when I took them. I just am unsure of the exact dates, but they seem to all have been taken in 2018-2019.

Quick Trip - One Camera

Last weekend I drove to Ann Arbor, Michigan from Weaverville, NC. It's about 11 hrs on the road, including rest stops, etc.  The purpose was to drive Beverley's vehicle with her to Michigan, and then I would return by air to NC the next day, and Bev would continue on to her parents in Ontario.  I knew that there wouldn't be a lot of time for photography, and I felt that digital would prevent any missteps at the TSA check in. I have flown many times before with film cameras, but I felt that a DSLR would be the easiest course this time.  However, I wanted something light, inexpensive, and not bulky.  The best candidate that I had was this Canon EOS Rebel XSi with the 24mm f/2.8 EFS STM lens.  I could have just used my iPhone XR, but there are times when a DSLR is so much better.

The Canon EOS Rebel XSi, a 12 MP DSLR introduced in 2008.

Now you probably are thinking "what's going on with Mark, I thought he was a dedicated Nikon user?" If you know me well, you'd know that I like to have a big toolbox, and I chose this combo because - lightweight, compact, good results - 12.8 MP, sensor, sharp lens, and it barely extends beyond the flash/mirror box. The Rebel XSi certainly isn't the latest (introduced in 2008), but you know what? It doesn't need to be. In fact, the lens costs more than a used body. The Rebel XSi is still a pretty decent entry-level DSLR with a cropped sensor, hence the EF-S lenses.  For a pretty thorough review from 2008 go to: http://www.digitalcamerareview.com/camerareview/canon-rebel-xsi-review/

side view. Compact, eh?

With the 24mm pancake lens, the Rebel XSi is really lightweight and a lot of fun to shoot with. While the entry-level Nikons have a more refined feel and familiar user experience for me, I didn't have a DSLR that matched the Canon's attributes for this trip.  In fact, Nikon has nothing like the 24mm STM lens.  

I didn't shoot much on the road on the Saturday driving towards Michigan, but on Sunday I had some time to do some shooting in Ann Arbor.  I had breakfast at Zingerman's Road House on Maple Road, which was a real treat. The Nichols Arboretum Peony Garden was at its peak, and since Adrienne used to be the person in charge of it, I knew that she would love to see some images of it this year.  The 24mm lens (36 mm equivalent in full-frame) did a great job with closeups as well as the bigger picture.  A bit of a walk at the edge of campus, and then it was time for me to go to Detroit Metro (DTW) to get on a flight to Greenville-Spartanburg International Airport. I don't think I have ever seen so few people at DTW, and the line through the TSA checkpoint was very short.    It was my first time walking to the B concourse, and the big tunnel with the "light show" was new to me.  My flight back was uneventful, and Adrienne picked me up at the airport (which has all of 10 gates).  We then went back into Greenville for some dinner and a walk in the lovely Reedy River Falls Park.  Then it was back home to Weaverville!

It was a bit of a surreal weekend, driving N to Michigan and flying home the next day. On the way into Michigan along US-23, we were greeted by a number of new billboards adverstising the pot dispensaries in Ann Arbor. That was perhaps the biggest change since we left Michigan.  The images that follow are all from the Canon Rebel XSi. Some were shot on b&w, the rest shot in color.

I always loved the artwork associated with Zingerman's

The Circle-K station was built  just about the time we left in 2019.

Just say high!

Peony Garden Entrance

so many great peony flowers

UM School of Public Health

Observatory Lodge. I stayed there for a few days 1in 1981.

You can find some stark compositions at DTW

almost Hockney-ized

Really a cool spot

some parts are purer than others

PSA 

Reedy River Falls in Greenville, SC

The Nikon F4 - Still An Amazing SLR

Nikon F4 with a lovely 50mm f/1.4 manual lens

I recently came into possession of a Nikon F4 that is in excellent condition.  I really hadn't thought about all the features that it has, since the last time I shot with one was well over 15 years ago.  The local Ann Arbor camera store, Big Georges (which stopped selling photographic stuff in 2008) had a used one for sale that I purchased to do some freelance work.  It ended up having a problem that reinforced my "always have a backup" plan. I was shooting an event and realized that the film was being advanced through to the end of the roll while never firing an exposure!  Luckily, my backup was the consumer-level Nikon N60, and I was able to get all the shots that I needed.  But, for a few moments, I was in a panic. I ended up selling that F4 with its problems noted, and never bought another one.  So, a few months ago, one sort of landed in my lap, and I started shooting with it.  Comparing it to an F2 or F3 is a little unfair, as the technology in the F4 is far more advanced than its predecessors. It's certainly a lot heavier and beefier. But, with its grip on the right side, it feels right in the hands.  The large, bright 100% viewfinder is truly great, and having the hot shoe on the prism like most cameras, is a far better solution than the F, F2, and F3 location.  

The Nikon F4 was produced from 1988-1997.  It was an innovative breakthrough for Nikon, parting ways with the older manual-focus F cameras, yet retaining use of any lens, including non-AI. It works with all modern Nikon AF lenses, including G lenses (but not in A and M modes).  If you prefer knobs and buttons over LCD menus, this is the camera for you.  In fact, every feature on the F4 is readily identifiable and does not have to dealt with via a menu. Shutter speeds are from 30 sec to 1/8000 sec, plus B and T, and ISO settings from 6 to 6400. The information in the viewfinder is easily seen, and of course, you can manually set the lens aperture in A and M modes.  It's a perfect SLR to use with manual lenses, as you see focus confirmation in the viewfinder. In fact, while I often use the F4 with AF lenses, I love using it with a manual AI-modified 50mm f/1.4 Nikkor-S lens from the late 1960s. 

Everything is easily found, and no menus or LCD screens

 Everything is so clear and bright in the viewfinder that it's a real treat to use this camera.  The Nikon N90, while lighter, has many of the features of the F4, but it does contain an LCD screen and has mode buttons, and a primitive menu system.  None of that's in the F4.  I have used N90s quite a bit, and while excellent SLRs, they are not as rugged as the F4.  All the controls are where they should be (at least to a Nikon user) and are non-ambiguous.  Flash sync is at 1/250 sec., and the incredible array of Nikon Speedlights gives you so much more control over your flash photography than the F2 or F3.  Matrix-balanced fill flash, center-weighted fill-flash, rear-curtain sync, standard TTL flash, and multiple flashes are all options.   I'm not going to list all of the features of this camera, as they are easily findable on the Internet.  However, one feature that might escape notice is where the cable release connects to the camera.  - It's on the lower left rear, below the film door.  It actually makes a great deal of sense having it there, rather than part of the shutter release on top right, where it's usually found on most cameras. One other feature that I appreciate -- it uses 4 AA cells, not some expensive battery. Since it doesn't have an LCD screen, those AAs last quite a while.

The F4 with a great travel lens - the 24-120 AF-D.

This second go-round with the F4 has been most enjoyable, and the more I use it, the more I appreciate just how rock solid the camera is.  It was Nikon's flagship professional camera for almost a decade, and it was totally a major leap forward in pro camera technology compared to the electronic F3.  Don't get me wrong -- I think the F3HP is one of the greatest SLRS made, but the F4 certainly is a camera that sits well with the manual and the AF worlds, and is still an awesome SLR.  It's not a lightweight camera - with the 50mm f/1.4 and neck strap, it weighs 3.5 pounds.  Put on the 35-70 f/2.8 AFD lens, and that will be 4 lb 4 oz around your neck.  I carry mine over my shoulder.  One might be tempted to think that if the F4 is good, the F5 and F6 are better.  Using those two cameras is not much different than using a DSLR, and if you have used an F100, you would immediately know the controls on a D300. So, user-interface-wise, the F4 stands out amongst any pro-level AF 35mm SLR.

So, is the Nikon F4 right for you? Only you can answer that. Find one and shoot with it for a while, and you'll quickly see how great a camera it is.

Want to know more about the Nikon F4? Here are some links that will provide more information and inspiration.

• Casual Photophile
• Ken Rockwell
• B&H 
• Anatomy Films
• KEH Review

35-70 f/2.8 AF-D, Ultrafine extreme 100,  March, 2021

35-70 f/2.8 AF-D, Ultrafine Extreme 100, March, 2021

35-70 f/2.8 AF-D, Ultrafine Extreme 100,  March, 2021

35-70 f/2.8 AF-D, Ultrafine Extreme 100, March, 2021

 

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...