Optical Review Blog No. 24 – Minolta Maxxum AF 28mm 1:2.8

When I first started into the Minolta Maxxum system, my first two lenses were zooms, the iconic duo of f/4 classics, the 35-70mm and 70-210mm. A trip to Burlington Camera yielded a couple of prime lenses that would be perfect additions to my kit; they were the classic 50mm f/1.7 and the lens I'm reviewing today the 28mm f/2.8. The Maxxum 28/2.8 is a great lens and a perfect fit. Doesn't take too much space. It is close to the same size as the 50 and even the 35-70 and is my favourite prime lens for my Maxxum 9 system without a 35mm prime. And while I do enjoy that lovely 35mm focal length that may not always be wide enough for what I wanted to shoot and not fast enough for all situations.

Lens Specifications
Make: Minolta
Model: Maxxum AF 28mm 1:2.8
Focal Length: 28mm
Focal Range: ∞ - 0.31m
Aperture: f/2.8 - f/22, 7 Blades
Structure: 5 Elements in 5 Groups

You can see a touch of distortion on the straight lines.
Minolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Build Quality
Like any Maxxum lens, the focus of the outer shell is plastic, including the filter ring. However, the internals and lens mount are constructed of metal. The filter ring is 49mm making it the same diameter as other prime lenses from this first generation of Maxxum glass and giving it a good balance between durability and lightweight. And the lens fits nicely on any Maxxum body without adding additional weight, working well on the original 7000 up to the 9. Given that the lens is designed specifically for autofocus cameras, the focusing ring is small and easily overlooked, being at the front of the lens. If you're used to lenses with a bit more space, it can be hard to manipulate. It seems a bit inconsistent given that it spins relatively fast in manual mode, making it suitable for gross adjustments while finer work can prove challenging. At least there's a decent and easily read focus scale on the lens. The one nice feature is the built-in sliding lens hood, although I've found that it's not entirely required as I don't see that the lens flares too much.

The one thing that surprises me is that even at f/2.8 there is a bit of fall off at the edges, but it isn't too bad on this lens.
Minolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CHere at f/5.6 any fall off is gone, and you have a good clean depth of field to make good images.
Minolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CSolid clean image at f/8.
Minolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CGetting into some deep depth of field here at f/13.
Minolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CFull front to back in focus subject matter at f/22.
Minolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Image Quality
While not perfect by any means, the Maxxum 28/2.8 is undoubtedly a solid performer in the image quality area. The first thing that I noticed is that despite being an f/2.8 lens when you're shooting wide open, there is a little bit of fall off and vignetting at the edges and corners, but nothing overly serious and when you start to stop down, it is all but gone at f/4 and entirely gone at f/5.6. At f/5.6, you have some excellent depth of field and subject separation, and that depth of field only increases as you stop further down. And by the time you hit f/22, you have your entire scene in focus. The main issue with the lens is a tendency for distortion with close subject matters. I noticed that straight lines tend to bow horizontally and vertically when shooting in confined areas or close focusing. Other than that, I find that the lens is excellent, but nothing special, no real character. It renders the out-of-focus elements smoothly but nothing out of the ordinary. It produces beautifully sharp images starting at f/5.6 and extending out to f/22.

Minolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Applications
I picked up this lens because I needed something more comprehensive and faster than the 35-70mm f/4, and this one certainly fits the bill, and it proved more critical and valuable than the 50mm f/1.7. Great for landscape work and cityscape work, and being able to stop down to f/22 ensures that you can get the whole scene in focus (when appropriately focused). When it comes to architectural work, I will not rate this lens as the best choice, but if you have enough distance and not shooting in a confined space, it's okay, but as soon as you're getting into those narrow areas, that distortion could be a distraction. This lens is also excellent for working indoors when you have to get the whole group into the frame and keep everyone in focus, and as long as you have everyone on a single or narrow focal plane, you can shoot at f/5.6-f/8 have everyone in focus.

Minolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

The Low Down
Despite the problems, I like this lens. The Maxxum 28/2.8 rarely leaves my camera body when I want to take it out and shoot, mainly when I don't want to lug around the 28-135/4-4.5 and need those extra stops if the lighting is in question. In the used market, this lens is incredibly affordable. You can find them between 60 to 100 dollars, with outliers on the low and high end. But try and stick to the middle range of 70-80 dollars to get a good model. And being that it is an A-Mount lens, it will also work flawlessly on Sony DSLR cameras.

Further Reading
Don't just take my view on the Maxxum 28/2.8; check out these other reviews.
Kurt Munger - Minolta AF 28mm f/2.8 Review
Dynux - Minolta AF 28mm F2.8 A-mount lens reviews
Imaging Resource - Konica Minolta 28mm f/2.8 AF
DPReview - Minolta AF 28mm f/2.8 - Not as bad as you might think.

#opticalreviewblog #burlington #canada #fa1027 #gear #glass #kodaktmax400 #lens #lensreview #minoltamaxxum9 #minoltamaxxumaf28mm128 #ontario #opticalreview #review

Optical Review Blog No. 23 – Minolta MD W.Rokkor-X 28mm 1:2.8

It is always a good idea to future proof your lenses, especially when working with the Minolta manual focus cameras. I say that because, like Nikon, while the original 1958 SR-Mount is basically the same as 1977 SR-Mount, there are subtle differences, like the Nikon F-Mount. I first picked up this lens as part of a drive to get better glass for my Minolta X-7a, my second Minolta SLR. While I could go with MC variant lenses, I went with the MD variant. The reason being that if I had updated my X-7a to an X-700, I needed lenses that would work with all the functions of the X-700, including Shutter Priority and the all-important Program mode. Ultimately as I gave up Minolta for several years and eventually landed on an XE-7, the need for MD was not that needed (at least until I replaced the XE-7 with an XD11/XD5). Either way, the Rokkor-X 28/2.8 is a solid lens that certainly improved my wide-angle capacity for my Minolta kit over a third-party dog I started with; I think it was a MacKinnon? With improved coating, close-focus-correction, and excellent optical qualities, the 28/2.8 is not only affordable but makes an excellent lens in the field.

Lens Specifications
Make: Minolta
Model: MD W.Rokkor-X 28mm 1:2.8 (MD-II)
Focal Length: 28mm
Focal Range: ∞ - 0.3m
Aperture: f/2.8 - f/22, 6 Blades
Structure: 7 Elements in 7 Groups

I enjoy the fact that despite being a wide lens there's little in the way of distortion.
Minolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Build Quality
Like any Rokkor lens, the build quality of the 28/2.8 is superb. While constructed of a blend of plastic and metal, the parts that take the most damage through constant use are constructed of metal, including the lens mount and the filter threads. While the body itself has a plastic outer layer, the internals is also constructed from metal. A rubber coating allows for a comfortable grip when using the focusing ring. The lens is the perfect size on both larger-bodied Minolta's like the XE or older SR-T cameras but also fits well on smaller XD or XG cameras. While not as compact as the Rokkor 45/2, it certainly does not add too much front weight to a camera nor take up a lot of space in your camera bag. The one thing you should get with the lens is the Minolta hood, which sadly is constructed out of plastic, making it easily broken. Functionally the lens is excellent, with the focusing ring moving smoothly with the right amount of resistance, allowing for a clean experience when moving focus in and out. The aperture ring is also well made and gives good clicks when at each stop.

At f/2.8 you have plenty of fall off at the corners.
Minolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CWhile slightly better at f/4 there is still some fall off at the edges.
Minolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20COnce you get to f/5.6 the fall off is gone.
Minolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CYou're starting to get a bit more depth of field when you hit f/8.
Minolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CHere at f/11 you have more depth with the front rifleman starting to clear up.
Minolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CStopped down to f/22 you have your front and rear object in focus.
Minolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Image Quality
The image quality on this lens is excellent; give that we're talking about seven elements in seven groups of construction here, there are no complaints about the optical quality. There is little to no distortion even when getting up close to that 30cm close focus, thank corrections in the lens. Your straight lines will stay straight. And the optical construction certainly yields excellent image sharpness. The one trouble I see with the lens is that the fall-off is heavy when shooting f/2.8 and f/4; it does go away by f/5.6. Personally, I find the lens' sweet spot is between f/8 and f/22 and having that f/22 certainly helps to ensure that everything is in focus. The out-of-focus elements are okay, smooth, but nothing special, normal. The one thing you do have to watch out for with a lens like this is flare from off-axis light; having that hood is certainly a must when shooting outside in hard light. While I shot this on B&W, the lens renders colours well, giving an almost 1980s look, especially if paired with Kodak ColorPlus 200.

Minolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Applications
Like any good wide-angle lens, the best use of the Rokkor-X 28/2.8 is for landscape application or anything where you need to capture a wide-angle of view, plus having that capacity to stop down f/22 certainly will allow for everything to be in focus. Making this also an excellent lens for architecture, cityscapes and streetscapes. And since the lens has no distortion and your straight lines stay mostly straight, especially at a distance, you are well set up for ensuring you don't have to do much in post-processing. While you can get close in with a 30cm close-focus and there is a bit of close-focus-correction on the lens, I personally would not use the Rokkor 28/2.8 for that purpose; there's a bit more distortion the closer you get. It can also work well for capturing large groups in tight quarters, and with an f/2.8 open aperture, it works well in low light when flash is not an option. It makes an excellent choice for a wide-angle lens for a three-lens travel kit. Plus, given that the lens is an MD variant of the SR-Mount, you can use it with almost all Minolta SLRs from the SR-T line through the X-Series; it will work flawlessly with all these excellent cameras.

Minolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

The Low Down
I should note that there is a 3rd Generation version of this lens; it lacks the Rokkor branding on the lens itself, but watch those serial numbers; the 7/7 construction will have serial numbers starting with 80, while a 5/5 construction will start with 70. I'm a big fan of this lens and it was among those lenses that I kept stashed away after I dropped out of the Minolta system as I increased my kit for Nikon. And I'm glad I did, as it fit back in perfectly when I picked up a Minolta XE-7. It's the perfect balance for a travel kit without being too wide. While it is not an inexpensive lens, on the secondary market, you're looking at prices averaging 130$, but you can find them in the range of 60-250$, which is huge. But like anything, it's always best to try before buying from a seller with a good return system. While I mainly shoot with the 45mm f/2, the second most used lens in my Minolta SR system is the 28mm f/2.8.

Further Reading
Don't just take my view on the Rokkor-X 28mm 1:2.8, check out these other reviews.
Casual Photophile - Minolta MD 28mm f/2.8 Review (MD-III)
Vintage Lens Review - Minolta MD 28mm f/2.8 Review (MD-III)
The Rokkor Files - 28mm f/2.8 MD W.Rokkor-X Review (MD-II & MD-III)

#opticalreviewblog #canada #fa1027 #kodaktmax400 #lens #lensreview #mdii #minolta #minoltarokkorx28mm128 #minoltaxe7 #oakville #ontario #opticsglass #review #rokkor

Camera Review Blog No. 137 – Fujifilm GA645Zi Professional

When it comes to medium format cameras, there are two formats that I've always been drawn to, the iconic 6×6 square and the slightly smaller 6×4.5 or 645. I've run with a Pentax 645 and more recently the Mamiya m645. I have shot with other medium format cameras, 6×9, 6×7, and 6×8 and even larger exposure sizes. But I keep on coming back to 645; it's great for everyday shooting and gives you that larger image size than 35mm. But the cameras are often bulky unless you go with a folder. But what about the best of both worlds? Enter the Fujifilm GA645Zi, the third version of the GA645 series from Fuji and the zoom lens. While far from perfect, it was on the shortlist when I was looking at bringing a medium format camera to Europe in 2015. While not a small camera by any stretch, it is fairly compact for what it is and does. Thanks to James Lee for loaning the camera out for a review!

Camera Specifications
Make: Fujifilm
Model: GA645Z i
Type: Point-And-Shoot
Format: 120/220, 6×4.5
Lens: Fixed, Super-EBC Fujinon 1:4.5-6.9 f=55-90mm
Shutter: Electronic Inter-Lens Shutter, 1/700 - 2″ + Bulb
Meter: Centre-Weighted SPD, EV3 ~ EV19 @ ASA-100, ASA-25 - ASA-1600
Autofocus: Hybrid Active/Passive IR focusing, ∞ - 1.0m
Year of Manufacture: 1998

Background
Fujifilm's G-Series of cameras grew out of the growing tourist industry in Japan. While Fuji had never been a major part of the growing camera industry in post-war Japan, they produced an excellent line of cameras into the 1960s and 1970s, usually under the Fujica brand name. But many of these were 35mm, and the need for a larger negative for better quality images as needed. Banking on the larger negative size from 120/220 film, their first 6×7 rangefinder with interchangeable lenses, the GM670, was first released in 1968. Others quickly followed using various other negative sizes that you can get with medium format roll films, the iconic Texas Leica, or the 6×9 offering. These were excellent cameras because they offered a similar experience to the fixed and interchangeable 35mm rangefinders in a bigger format. But these cameras were also large and could be unwieldy, so in the 1980s, Fuji added a new negative size to their lineup, the GS645 series. As the name indicated, the camera shot in the 6×4.5 format allowing the photographer sixteen frames per roll of 120 (double with 220) but still provided a negative larger than 35mm. The initial offering of the GS645 came equipped with a 75mm f/3.5 lens and a built-in light meter and rangefinder focusing. The lens itself is mounted on a bellows to present a modern folding camera. While the camera did have a meter, it was not coupled but did allow the user to set the exposure manually. A second version, the GS645W, came with a wide-angle 45mm lens but lacked the rangefinder, so it was scale focus. A second version, the GS645W, returned the idea of a rangefinder but with a 60mm lens. In 1995 the GS645 series upgraded with the GA645 and GA645W; these were auto-exposure and auto-focus, which brought the camera series into the modern era. The GA645 featured a 60mm lens and the GA645W a 45mm lens and moved to a full rigid body without any folding parts. Fuji improved the camera's ergonomics, metering, and focusing systems releasing the GA645 i and GA645W i in 1997, which each featured the same lenses as before. But these both were fixed focal length cameras, so in 1998 Fuji released their first and only zoom lens model of the GA645 series, the GA645Z I which comes with a 55-90mm zoom lens with four different focus points, 55, 65, 75, and 90 and unlike the past offerings the GA645Z i came not in black but a beautiful metallic champaign colour. However, a black version was released in 1999.

Fujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Fujifilm Neopan Acros 100 @ ASA-100 - Ilford Ilfotec HC (1+47) 7:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Fujifilm Neopan Acros 100 @ ASA-100 - Ilford Ilfotec HC (1+47) 7:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Fujifilm Neopan Acros 100 @ ASA-100 - Ilford Ilfotec HC (1+47) 7:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Fujifilm Neopan Acros 100 @ ASA-100 - Ilford Ilfotec HC (1+47) 7:00 @ 20C

Impressions
If you're familiar with the Japanese camera industry of the 1990s, you'll quickly realise that the GA645Zi follows that same design aesthetic of the premium compact cameras coming from Kyocera under names like Yashica and Contax. And the GA645Zi certainly reminds me in many ways of the Contax G2. While these cameras were also available in black, personally, I prefer this champaign/metallic colouration. Despite being big, the camera itself fits well in hand; the added grip on the one side with the shutter release at an angle reminds me of the vertical grip on the VC-9 for the Maxxum 9. The mode dial doubles as your on/off switch, and there is a functional lock to prevent accidental power on or off and mode switch. The dial also acts as the means to set the ISO, not the best choice in my view, but it is on the opposite side of the off position from the modes. There is also a single command dial that allows you to help load the film and adjust settings; the dial does everything depending on the mode (adjusting exposure settings, manually focusing the camera, et al.). The weak point for the camera is the rear LCD screen; in the example I reviewed, several elements were starting to fade but eventually warmed up with use, but it did make the setting that initial ISO difficult, which may lead to mis-exposed frames. The zoom lens toggle is well placed but irregularly labelled, so you often don't know which way to toggle it to zoom in or out. The one nice touch is that the GA645Zi, despite being modern, uses a standard mechanical cable release. The viewfinder is bright with plenty of information, including exposure settings, frame lines, and a centre mark to help point out your focus point and metering point.

Fujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Fujifilm Neopan Acros 100 @ ASA-100 - Ilford Ilfotec HC (1+47) 7:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Fujifilm Neopan Acros 100 @ ASA-100 - Ilford Ilfotec HC (1+47) 7:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Fujifilm Neopan Acros 100 @ ASA-100 - Ilford Ilfotec HC (1+47) 7:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Fujifilm Neopan Acros 100 @ ASA-100 - Ilford Ilfotec HC (1+47) 7:00 @ 20C

Experiences
If you're looking for a fast camera, you've come to the wrong one. Despite everything, the GA645Zi is a slow camera in many aspects. Thankfully the loading film is not one of them. The spools are secured in place, and small red buttons will release the lower stands, allowing you to remove and install the new roll of the film easily. Pull the leader across, insert it into the take-up spool, then use the command dial to advance. You will want to apply slight pressure on the backing paper making sure not to pressure the shutter curtain. Settle your finger to the left of the take-up spool cavity with your left hand and use your right to give the command dial a couple of turns. This will ensure proper tension is applied before you close the film door preventing 'fat' rolls. You also do not have to advance it to an arrow point; once you have the film wound slightly onto the take-up spool, close the door, press the shutter release, and the camera automatically advances to the first frame. Like other 645 cameras of this type, the native orientation is a portrait, and the camera is most comfortable and optimized for being held in this position. Thankfully you can run it easily in landscape orientation without being too uncomfortable; make sure to have that shutter button at the top when being held for the best comfort. In the field, the biggest weakness in the camera is the autofocus system; using a hybrid active/passive IR system does tend to hunt for focus or miss-focus in some cases. Best to have that centre target on the subject first, then recompose. The viewfinder is bright, offering up an indicator for the camera's focus, a centre target point for both focusing and metering, as well as bright lines for assistance in composition. It also zooms in and out with the lens, making it easier to compose at the current focal length. You also will see the exposure settings for both aperture and shutter speed. I only ran the camera in full program mode, but it will give you a selection of your set aperture or shutter speed in the semi-automatic modes. There is also a certain lag for the camera to lock onto the focus when you half-press the release and another lag from full press to the camera taking the photo. The zoom is also fairly slow to extend or retract the lens. The one nice feature with the camera is that it will imprint all the image values on the negative rebate if you so choose, visual EXIF data! You can choose if you want this data recorded or not using the 'data' button on the back of the camera. Despite this, the camera is fairly easy to operate in the field, and what impressed me is that it takes a standard mechanical cable release.

Fujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Rollei RPX 400 @ ASA-400 - FA-1027 (1+14) 9:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Rollei RPX 400 @ ASA-400 - FA-1027 (1+14) 9:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Rollei RPX 400 @ ASA-400 - FA-1027 (1+14) 9:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Rollei RPX 400 @ ASA-400 - FA-1027 (1+14) 9:00 @ 20C

Optics
The functionality of the camera isn't the only slow aspect of the camera. The lens is equipped with a Super-EBC Fujinon lens; the optical quality is nothing to turn up one's nose towards. I've used plenty of Fujinon glass from their large format to 35mm offerings, and these are superb lenses with excellent optical construction and image quality. And for a medium format point-and-shoot, this is an excellent lens. With focal lengths between 55mm and 90mm, it gives you a basic 'kit' style zoom lens for the camera, and it has the aperture range to match; at 55mm, the maximum aperture is f/4.5, but once you hit 90mm, you're at f/6.9. Not exactly what you find in an average kit lens for the 35mm format. However, don't let that stop you from using the camera; despite the slow lens, the optical quality is excellent, with sharp images at any aperture with a wonderful rendering of the out-of-focus elements. There's no fall-off at wide-open apertures, and the lens does not flare when faced with indirect light. The coating renders both colour and b&w films well with good contrast.

Fujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Cinestill BwXX @ ASA-250 - Adox Rodinal (1+50) 9:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Cinestill BwXX @ ASA-250 - Adox Rodinal (1+50) 9:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Cinestill BwXX @ ASA-250 - Adox Rodinal (1+50) 9:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Cinestill BwXX @ ASA-250 - Adox Rodinal (1+50) 9:00 @ 20C

Lowdown
While this is far from a perfect camera, the GA645Zi is a solid performing camera. A good option if you want that big 645 negatives and have space constraints. The GA645Zi will give you all of this in a compact camera, and the zoom lens will allow you to have a basic 'kit lens' setup without needing to juggle separate lenses and no need to include an external meter. The camera does take CR123A batteries, so if you are taking it out into the backwoods, take a couple of spares. But these cameras are far from cheap; you're going to be paying between 1,700 to 2,300 on the used market. And it would be best to buy one from a Japanese seller where these cameras were mainly sold. Also, make sure that the camera is functional, as they are difficult if not impossible to repair. I'll admit, I like the GA645Zi, but not enough to drop that much money, so I'll stick to my Mamiya m645.

Further Reading
Don't just take my word on the GA645Z i , you can check out the reviews by other awesome camera reviewers!
Emulsive - Fujifilm GA645Zi Review
Photo Jottings - Fuji GA645Zi 55mm-90mm Review
Shoot It With Film - A Comprehensive Review of the Fuji GA645
FilmPhotography.Blog - First thoughts on the Fujifilm GA645Zi
theWSreviews.com - Fujifilm GA645Zi
Dante Stella - Fuji GA645 family of autofocus 6×4.5 cameras
Nick Carver - Fuji GA645Zi Archives

#camerareviewblogs #adoxrodinal #camera #camerareview #canada #cinestillbwxx #crawfordlake #fa1027 #fujifilmga645ziprofessional #fujifilmneopanacros100 #ga645zi #gear #ilfordilfotechc #milton #ontario #review #rolleirpx400

Optical Review Blog No. 22 – Nikon AI Nikkor 28mm 1:3.5

When it comes to wide-angle lenses, you don't always need the fastest lens in the bunch. While an f/2.8 28mm or 24mm is a nice addition to any kit, they often come with a steeper price tag. But what if you only needed something that would get you that 28mm and were not as concerned with speed and could get away with something not as fast but the same performance. Enter the lens that opened my eyes to the more bargain focused wide-angle lens, the Nikkor 28mm f/3.5. This lens actually helped me decide to add the Zuiko 28mm f/3.5 lens for my Olympus kit. The Nikkor 28mm f/3.5 comes from when Nikon produced all sorts of lenses to the same exacting quality but at different apertures and price points, and while not the best for dim light, in daylight, this is not the best lens is near perfect.

Lens Specifications
Make: Nikon
Model: AI Nikkor 28mm 1:3.5
Focal Length: 28mm
Focal Range: ∞ - 0.3m
Aperture: f/3.5- f/22, 7 Blades
Structure: 6 Elements in 6 Groups

One of the best parts of this lens is the lack of any distortion even at close focus! Test chart shot at f/8.
Nikon D750 - AI Nikkor 28mm 1:3.5

Build Quality
Like all lenses from the late 1970s to early 1980s, the Nikkor 28/3.5 is of all-metal construction it is a bit larger than faster lenses (surprisingly) but fits well on all my Nikon cameras that support the lens. From my smaller FE and FM to the MD-15 equipped FA. And I even love working with the lens on my D750, which, thanks to the smaller body size, doesn't dwarf the lens. It also doesn't add too much additional weight, and it is well balanced on the front of the camera, no matter how equipped. The aperture ring is a bit tricky, but I'll chalk that up to age; it rattles a bit when adjusting the stops, and there is that hidden f/4 mark between the f/3.5 and f/5.6 stops. The focus ring is large and travels smoothly with rubberized coating. It's easy to focus on all the cameras in bright daylight, although having only an f/3.5 wide-open aperture, it suffers a bit indoors. The lens had the standard Nikon multicoating on the lens elements, and the six by six construction helps offer up similar optical quality as the faster 28mm f/2 lens of the same era. The seven-bladed aperture is nearly even, and at night when stopped down to f/22, produces beautiful fourteen point stars from points of light.

At wide open (f/3.5) you'll notice that there is some fall off on the edges, but the out-of-focus elements are smooth and rather pleasing.
Nikon D750 - AI Nikkor 28mm 1:3.5While I skipped over the hidden stop (f/4) and went right to f/5.6, you'll notice that the edge fall-off is all but gone and you don't get too much increase in your depth of field.
Nikon D750 - AI Nikkor 28mm 1:3.5It seems that f/8 is a sweet spot for the lens, you have no fall-off and a decent depth of field behind the subject.
Nikon D750 - AI Nikkor 28mm 1:3.5Heading up to f/11 you do have improved depth of field.
Nikon D750 - AI Nikkor 28mm 1:3.5Stopped all the way down to f/22 you get a good depth of field both forward and back from the subject.
Nikon D750 - AI Nikkor 28mm 1:3.5

Image Quality
While I haven't made a head-to-head comparison to the faster 28mm lenses of the same era, I can tell there are no stand-out issues when it comes to the image quality from the Nikkor 28/3.5. The number one thing that I noticed with the lens is the lack of distortion. Even when I have the lens at a close focus point, my straight lines stay straight without any adjustments in post-processing. You will see some fall-off at the corner and edges when you have the lens wide-open f/3.5, but by f/5.6, that is all but gone. Again, you'll only see that against clean, bright backgrounds, so that should not be much of an issue. The best aperture range I found for the lens starts at f/8 and goes right to f/22 for best results. The one thing you do not need to think too hard about is your depth of field; the tests here are a bit exaggerated as I'm focused fairly close to the model soldiers, that 28mm focal length you can achieve decent depth-of-field starting at f/5.6 when out in the field. When it comes to image sharpness, this lens is excellent; that 7 by 7 construction is the same as some of Nikon's faster options. And the 7 blade aperture produces silky out of focus element rendering. And while some might say you need something faster to get excellent out-of-focus elements, the Nikkor 28mm f/3.5 certainly delivers that same experience without having to go to an f/2.8 or f/2 lens.

Nikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Applications
Like any wide-angle lens, the best application for these is in the realm of landscape and cityscape photography. With the lack of distortion even at closer focus points, the lens keeps your straight lines straight, and I've never needed to make any adjustments in post-processing my images both on film and digital. It works well for architecture shots to get that full building in the frame when working in close quarters. While you can work with the lens inside for event photography to capture whole groups, it will seem a bit dim, especially in low-light, but it will not be too much of an issue if you have a bright viewfinder. Surprisingly the lens works well for close-focus applications with the ability to focus into 30cm or 1 foot of the subject matter, although it is not a true macro lens and getting that close will cause some distortion. It is, for me, the perfect wide-angle prime lens for travel as it takes up very little space in my camera bag, works well on all my Nikon cameras (especially when I don't want to lug my monster 28-70mm f/2.8D or 14-24mm f/2.8G) and even if it does break or gets lost I'm not going to be too put out because it cost me less than 100$ used.

Nikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

The Low Down
The Nikkor 28mm f/3.5, I feel, doesn't get as much love it deserves, but on the other hand, if it did, it would not be a less expensive option for manual focus Nikon lenses. I should also make a head-to-head comparison between the faster options of the same focus length (f/2.8 and f/2) to see any major differences (I've made that note). On the used market, you can get excellent examples between 50 and 95 dollars and these are in superb condition. While I cannot remember how much I paid for mine from a local camera dealer (North Halton Camera Exchange in Georgetown, Ontario), I feel it was certainly in the lower end of that range, maybe 60$. Either way, this lens became a fast favourite, being a popular choice during the ongoing 52-Roll project and having appeared in a majority of the weeks and is always in the bag when doing a multiple lens setup (usually joined by the 50mm 105mm). But what sold me on the lens was how well it pairs with my D750, and in my non-CPU lens options, it is choice number one, and that should say something.

Further Reading
Don't just take my view on the Nikkor 28mm f/3.5, check out these other reviews.
Ken Rockwell - Nikon 28mm f/3.5 AI
Russell Bloodworth Photography - Nikkor 28mm f3.5 AI: A Fantastic Vintage Wide-Angle Lens

#opticalreviewblog #ainikkor28mm135 #canada #fa1027 #glass #ilforddelta400 #lens #lensreview #milton #nikkor #nikon #nikond750 #nikonfe #ontario #optics #rattlesnakepoint #review

Optical Review Blog No. 22 – Nikon AI Nikkor 28mm 1:3.5

When it comes to wide-angle lenses, you don't always need the fastest lens in the bunch. While an f/2.8 28mm or 24mm is a nice addition to any kit, they often come with a steeper price tag. But what if you only needed something that would get you that 28mm and were not as concerned with speed and could get away with something not as fast but the same performance. Enter the lens that opened my eyes to the more bargain focused wide-angle lens, the Nikkor 28mm f/3.5. This lens actually helped me decide to add the Zuiko 28mm f/3.5 lens for my Olympus kit. The Nikkor 28mm f/3.5 comes from when Nikon produced all sorts of lenses to the same exacting quality but at different apertures and price points, and while not the best for dim light, in daylight, this is not the best lens is near perfect.

Lens Specifications
Make: Nikon
Model: AI Nikkor 28mm 1:3.5
Focal Length: 28mm
Focal Range: ∞ - 0.3m
Aperture: f/3.5- f/22, 7 Blades
Structure: 6 Elements in 6 Groups

One of the best parts of this lens is the lack of any distortion even at close focus! Test chart shot at f/8.
Nikon D750 - AI Nikkor 28mm 1:3.5

Build Quality
Like all lenses from the late 1970s to early 1980s, the Nikkor 28/3.5 is of all-metal construction it is a bit larger than faster lenses (surprisingly) but fits well on all my Nikon cameras that support the lens. From my smaller FE and FM to the MD-15 equipped FA. And I even love working with the lens on my D750, which, thanks to the smaller body size, doesn't dwarf the lens. It also doesn't add too much additional weight, and it is well balanced on the front of the camera, no matter how equipped. The aperture ring is a bit tricky, but I'll chalk that up to age; it rattles a bit when adjusting the stops, and there is that hidden f/4 mark between the f/3.5 and f/5.6 stops. The focus ring is large and travels smoothly with rubberized coating. It's easy to focus on all the cameras in bright daylight, although having only an f/3.5 wide-open aperture, it suffers a bit indoors. The lens had the standard Nikon multicoating on the lens elements, and the six by six construction helps offer up similar optical quality as the faster 28mm f/2 lens of the same era. The seven-bladed aperture is nearly even, and at night when stopped down to f/22, produces beautiful fourteen point stars from points of light.

At wide open (f/3.5) you'll notice that there is some fall off on the edges, but the out-of-focus elements are smooth and rather pleasing.
Nikon D750 - AI Nikkor 28mm 1:3.5While I skipped over the hidden stop (f/4) and went right to f/5.6, you'll notice that the edge fall-off is all but gone and you don't get too much increase in your depth of field.
Nikon D750 - AI Nikkor 28mm 1:3.5It seems that f/8 is a sweet spot for the lens, you have no fall-off and a decent depth of field behind the subject.
Nikon D750 - AI Nikkor 28mm 1:3.5Heading up to f/11 you do have improved depth of field.
Nikon D750 - AI Nikkor 28mm 1:3.5Stopped all the way down to f/22 you get a good depth of field both forward and back from the subject.
Nikon D750 - AI Nikkor 28mm 1:3.5

Image Quality
While I haven't made a head-to-head comparison to the faster 28mm lenses of the same era, I can tell there are no stand-out issues when it comes to the image quality from the Nikkor 28/3.5. The number one thing that I noticed with the lens is the lack of distortion. Even when I have the lens at a close focus point, my straight lines stay straight without any adjustments in post-processing. You will see some fall-off at the corner and edges when you have the lens wide-open f/3.5, but by f/5.6, that is all but gone. Again, you'll only see that against clean, bright backgrounds, so that should not be much of an issue. The best aperture range I found for the lens starts at f/8 and goes right to f/22 for best results. The one thing you do not need to think too hard about is your depth of field; the tests here are a bit exaggerated as I'm focused fairly close to the model soldiers, that 28mm focal length you can achieve decent depth-of-field starting at f/5.6 when out in the field. When it comes to image sharpness, this lens is excellent; that 7 by 7 construction is the same as some of Nikon's faster options. And the 7 blade aperture produces silky out of focus element rendering. And while some might say you need something faster to get excellent out-of-focus elements, the Nikkor 28mm f/3.5 certainly delivers that same experience without having to go to an f/2.8 or f/2 lens.

Nikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Applications
Like any wide-angle lens, the best application for these is in the realm of landscape and cityscape photography. With the lack of distortion even at closer focus points, the lens keeps your straight lines straight, and I've never needed to make any adjustments in post-processing my images both on film and digital. It works well for architecture shots to get that full building in the frame when working in close quarters. While you can work with the lens inside for event photography to capture whole groups, it will seem a bit dim, especially in low-light, but it will not be too much of an issue if you have a bright viewfinder. Surprisingly the lens works well for close-focus applications with the ability to focus into 30cm or 1 foot of the subject matter, although it is not a true macro lens and getting that close will cause some distortion. It is, for me, the perfect wide-angle prime lens for travel as it takes up very little space in my camera bag, works well on all my Nikon cameras (especially when I don't want to lug my monster 28-70mm f/2.8D or 14-24mm f/2.8G) and even if it does break or gets lost I'm not going to be too put out because it cost me less than 100$ used.

Nikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

The Low Down
The Nikkor 28mm f/3.5, I feel, doesn't get as much love it deserves, but on the other hand, if it did, it would not be a less expensive option for manual focus Nikon lenses. I should also make a head-to-head comparison between the faster options of the same focus length (f/2.8 and f/2) to see any major differences (I've made that note). On the used market, you can get excellent examples between 50 and 95 dollars and these are in superb condition. While I cannot remember how much I paid for mine from a local camera dealer (North Halton Camera Exchange in Georgetown, Ontario), I feel it was certainly in the lower end of that range, maybe 60$. Either way, this lens became a fast favourite, being a popular choice during the ongoing 52-Roll project and having appeared in a majority of the weeks and is always in the bag when doing a multiple lens setup (usually joined by the 50mm 105mm). But what sold me on the lens was how well it pairs with my D750, and in my non-CPU lens options, it is choice number one, and that should say something.

Further Reading
Don't just take my view on the Nikkor 28mm f/3.5, check out these other reviews.
Ken Rockwell - Nikon 28mm f/3.5 AI
Russell Bloodworth Photography - Nikkor 28mm f3.5 AI: A Fantastic Vintage Wide-Angle Lens

#opticalreviewblog #ainikkor28mm135 #canada #fa1027 #glass #ilforddelta400 #lens #lensreview #milton #nikkor #nikon #nikond750 #nikonfe #ontario #optics #rattlesnakepoint #review

Film Development – Picking A Black & White Developer

Despite being far more niche these days, film photography still hangs on. And while there are plenty of options out there for getting your films lab developed and colour film developed, both C-41 and E-6 is fairly uniform no matter what chemical you buy. Except for E-6, Cinestill has a unique E-6 kit, but that's a whole other thing. When it comes to Black & White, there is a tonne of options available to you for development. It can seem a bit overwhelming at times. But I have spent close to a decade developing my own Black & White at home and have tried a pile (but not all) of developers out there. If you're getting started with home development, hopefully, I can guide you through some options to help make your life easy and give you some information and background for picking a developer to suit your needs.

The GP Developers
If you only have room in your chemistry set for three developers, these four are the ones that will deliver and be able to develop any B&W film in any given situation. While they won't be the best for any push or pull development, HC-110/Ilfotec HC can work in a pinch. But for your general-purpose development or getting used to the process, these are the best ones to start with.

Kodak D-76/Ilford ID-11
When it comes to a developer that will give you a strong base and economical, Kodak D-76 or Ilford ID-11, this is a developer that will do it all, developing both B&W films and B&W Papers. It is also an economic developer as you can mix it up from powder and then develop right off the bat from this stock solution. One gallon will develop x rolls of film, which runs out to a cost of x per roll. But you can also dilute it down to a 1+1 or 1+2, but then it becomes one-shot (use once and dispose of). D-76 will develop both traditional and t-grained film without issue. It also shows off what a film can do; it doesn't add or subtract sharpness or grain, and there is no real change to the contrast. While D-76 is only available in 1-gallon sizes, ID-11 you can get in 1-litre quantities and larger. Plus, you can also easily mix up your own D-76. There is also a tonne of clones of this developer formula out there.

Nikon F5 - AF Nikkor 50mm 1:1.4D - Kodak TMax 400 @ ASA-400 - Kodak D-76 (Stock) 7:30 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fujifilm Neopan Acros 100 II @ ASA-100 - Kodak D-76 (Stock) 7:15 @ 20C[](https://www.flickr.com/photos/axle81401/50162309476/ "FRB No. 64 - Film Washi "D" - Roll No. 1 (Kodak D-76)")Nikon F5 - AF Nikkor 35mm 1:2D (Yellow-15) - FilmWashi Type D @ ASA-500 - Kodak D-76 (1+1) 8:30 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Eastman Double-X @ ASA-250 - Kodak D-76 (1+1) 10:00 @ 20C

Kodak HC-110/Ilford Ilfotec HC
If you're looking for something a little more customizable and has long term shelf stability and can be adapted to adjust contrast and even act in a compensating nature, then Kodak HC-110 or Ilford Ilfotec HC plus numerous clones is an excellent choice. This liquid concentrate developer is mixed with water to make up a working solution and mixed into various assorted dilutions. Under Kodak, these are often designated by letters such as Dilution A or Dilution B, but these are also in number form, so Dilution B is 1+31 and Dilution H is 1+63. And the best part is that there are tonnes of clones out there. I've found that you can control the film's contrast by making your HC-110 either stronger or weaker and help either increase or decrease any inherent contrast in the film. You can also use the more dilute versions to compensate to preserve highlight and shadow detail. Plus, with a highly dilute (1+150), do a semi-stand development with B&W films.

Minolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Svema FN64 @ ASA-64 - Kodak HC-110 Dil. H 16:00 @ 20CMamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Lomography Potsdam 100 @ ASA-100 - Kodak HC-110 Dil. E 6:00 @ 20CNikon FM - AI Nikkor 28mm 1:3.5 - Fomapan 100 @ ASA-100 - Ilford Ilfotec HC (1+79) 12:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Kodak Tri-X 400 @ ASA-250 - Ilford Ilfotec HC (1+39) 9:00 @ 22C

Rodinal
Rodinal is the oldest commercial developer out there; it is bulletproof, lasts a long time and can be customized to suit your needs. While it isn't known to produce the finest grain, it certainly will deliver sharpness and solid contrast reproduction. Great for films that already have a fine grain structure. Generally, you will mix it in two different dilutions, 1+25 or 1+50. However, I recall one photographer mentioning that he would never mix Rodinal to 1+25. At 1+25, you will see more contrast and can be used to bump up the contrast on a low contrast film or day, and 1+50 will even things out rather nicely. You can also do several types of stand development, 1+100 or an hour or 1+200 for two hours. In both these cases, the developer will give a lovely compensation and will essentially develop any film shot at any speed. While limited to push/pull applications, you can probably manage a +/- one-stop. And the stuff lasts forever; even if you find a sealed bottle of the original Agfa stuff, it will still work. These days you can find the Rodinal name used by Adox, or here in Canada, we have Blazinal.

Mamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - CatLABS X Film 80 @ ASA-80 - Blazinal (1+25) 6:30 @ 20CMinolta XE-7 - Minolta MD Rokkor-X 45mm 1:2 (Yellow-12) - Adox CHS 100 II @ ASA-100 - Adox Rodinal (1+50) 12:30 @ 20CNikon FM - AI Nikkor 28mm 1:3.5 - Ilford FP4+ @ ASA-125 - Blazinal (1+100) 1:00:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Kodak Verichrome Pan @ ASA-125 - Agfa Rodinal (1+200) 2:00:00 @ 20C

Kodak TMax Developer/Ilford Ilfotec DD-X
I almost considered putting TMax Developer and DD-X into the Speciality category. Still, I quickly realized that many people only use this developer style, and it does make for a good GP developer! While not a direct analogue, they are both designed to get the most out of modern TMax and Delta films or any modern emulsion. But they work well on other films; while they are not as economical as D-76, Rodinal, or HC-110, you can reuse a 1+4 dilution mixture at least for a few rolls of films. They also have compensating qualities that help with push processing or challenging films. Most of the time, you're working with a 1+4 or 1+9 dilution. While I don't use them every day, I know many people who do and have never been disappointed with the results.

Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fomapan 400 @ ASA-400 - Kodak TMax Developer (1+4) 8:00 @ 20CModified Anniversary Speed Graphic - Schneider-Kreuznack Angulon 1:6,8/90 - Kodak Tri-X Pan (320TXP) - Kodak Tmax Developer (1+4) 8:00 @ 20COlympus OM-2n - Olympus G.Zuiko Auto-S 1:1,4 f=50mm - Kodak TMax 400 @ ASA-400 - Ilford Ilfotec DD-X (1+4) 8:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford Delta 400 @ ASA-200 - Ilford Ilfotec DD-X (1+4) 6:00 @ 20C

Speciality Developers
Once you start getting into over and underexposure of your films, most general-purpose developers will be less than ideal for the push and pull processing needed. I say that lightly as I've had excellent luck with push processing in TMax Developer/DD-X and highly-dilute mixtures of HC-110. But the developers below are ones that I know do an excellent job in reducing the effects of the modifications and pushing and pulling in development.

Kodak XTOL
While many people use XTOL for high-volume development personally, I find it excellent for helping to tame the grain and contrast when you under-expose film (shooting it at a higher speed) and then push processing. Not only that, it is the newest developer to come out of Kodak. It also is slightly more environmentally friendly than traditional developers. And XTOL does what it claims to do; it lessens grain without reducing sharpness and also middles out the film's contrast. It also does a fantastic job when over-exposing and pulling the film in development. The one downside is that you can only get XTOL in volumes of five litres minimum. Kodak had released a one-litre kit, but it proved unstable.

Intrepid - Schneider-Kreuznach Symmar-S 1:5.6/210 - Kodak TMax 100 @ ASA-32 - Kodak Xtol (1+1) 8:00 @ 20CHasselblad - 500c - Carl Zeiss Distagon 50mm 1:4 - Fuji Acros 100 @ ASA-100 - Kodak Xtol (stock) 8:00 @ 20CNikon F5 - AF-S Nikkor 14-24mm 1:2.8G - Rollei RPX 400 @ ASA-400 - Kodak Xtol (1+1) 12:00 @ 20CNikon F2 Photomic - AI-S Nikkor 50mm 1:1.4 - Holga 400 @ ASA-400 - Kodak Xtol (1+1) 9:30 @ 20C

Ilford Microphen
Probably my hands down favourite developer when push developing films. But it is best used when you under-exposure and push process films. While you can shoot films at box speed, I do find it doesn't work as well, often reducing contrast and softening the images. But working in the ideal conditions or one or two stops under the developer will even out the contrast, tame the grain and keep the film's inherent sharpness. I find it works best with traditional films (FP4+, HP5+) over T-Grain films. The best part is that it comes in one-litre kits and can develop ten rolls per litre with minimal adjustment in times.

Nikon FM - AI-S Nikkor 105mm 1:2.5 - Fomapan 100 @ ASA-100 - Ilford Microphen (1+1) 9:00 @ 20CMamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Lomography Berlin 400 @ ASA-400 - Ilford Microphen (Stock) 7:00 @ 20CNikon F5 - AF DC-Nikkor 105mm 1:2D - Kodak Tri-X 400 @ ASA-1600 - Ilford Microphen (Stock) 12:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak Tri-X 400 @ ASA-800 - Ilford Microphen (Stock) 11:00 @ 20C

Ilford Perceptol
While Microphen handles under-exposure, Perceptol is excellent at over-exposure and pull development. Again you can shoot your film at box speed and develop normally, but it works the best with slight overexposure (shooting film slower than box speed). It does help bump up the contrast slightly and then increase the grain slightly, if only to improve edge sharpness. At the same time, it doesn't spend a lot of time in my chemistry cabinet. The downside is that a one-litre kit will only handle four rolls of film at the stock solution, and it is fairly expensive for the volume of chemistry.

Mamiya m645 - Mamiya-Sekor C 35mm 1:3.5 N (Green-1) - Ilford Ortho 80 @ ASA-80 - Ilford Perceptol (Stock) 13:00 @ 20CNikon FE - AI-S Nikkor 35mm 1:2.8 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (1+1) 17:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 50mm 1:1.7 - Fujifilm Neopan Acros 100 II @ ASA-80 - Ilford Perceptol (Stock) 12:30 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Kodak Tri-X 400 (400TX) @ ASA-320 - Ilford Perceptol (1+1) 12:00

Specalized Developers
These developers go above and beyond your standard push/pull developers and, in some cases, even alter the films themselves. These are great for high levels of compensation or working with old and expired film stocks, or doing fine-art processes.

FA-1027/Clayton F76+
Known among many film labs as the magic juice, FA-1072, also known as F76+, is an excellent liquid developer that handles most films. But it is designed to work best with Ilford HP5+, and you know they are right! At the strongest mixture 1+9, you can develop several rolls before the working solution is exhausted, and even when the concentrated developer has turned rather yellow, it still works like a charm. Plus, you can also make the working solution more dilute to stretch out the concentrate. And since the developer contains an anti-fogging agent, it will work on expired film and reduce base fog.

Nikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CGraflex Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Ilford HP5+ @ ASA-400 - FA-1027 (1+14) 9:00 @ 20CHasselblad 503cx - Carl Zeiss Distagon 50mm 1:4 T* - Fomapan 100 @ ASA-100 - FA-1027 (1+14) 9:00 @ 20CHasselblad 500c - Carl Zeiss Planar 80mm 1:2.8 - Rollei RPX 100 @ ASA-100 - FA-1027 (1+14) 9:30 @ 20C

Pyrocat-HD
If you have ever shot large format, then there is a strong possibility that the words pyro developer has crossed your mind or at least your attention. While Rodinal is an old developer, the base developing agent in Pyro developers is older. While there are many flavours of Pyro developers out there, I've only had the chance to use two, the old PMK Pyro and Pyrocat-HD. Pyrocat-HD is a less toxic (but still very toxic when compared to D-76) version of PMK Pyro with shorter development times and better staining action. The developer is credited to Sandy King. This is the ultimate in compensating developers, but it also leaves a stain on your negatives, which helps with printing. It comes in two parts, mixed generally at a 1+1+100 dilution, so highly dilute. This is one of the few developers that you don't want to use a chemical stop bath, and for best results, use the Photographer's Formulary TF-4 fixer for better stain retention. If you use film that doesn't have built-in emulsion hardening, give a quick 3-4 minute in a hardening fixer.

Pacemaker Crown Graphic - Schnider-Kreuznack Angulon 1:6,8/90 - Ilford HP5+ @ ASA-200 - Pyrocat-HD (1+1+100) 9:00 @ 20CContax G2 - Carl Zeiss Planar 2/45 T* - Ilford HP5+ @ ASA-200 - Pyrocat-HD (1+1+100) 9:00 @ 20CPacemaker Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Ilford FP4+ @ ASA-64 - Pyrocat-HD (1+1+100) 8:00 @ 20CKyocera Contax 645 AF - Carl Zeiss Distagon 45/2,8 T* - Kosmo Mono 100 @ ASA-100 - Pyrocat-HD (1+1+100) 12:00

Rollei Low-Contrast Developer (RLC)
Rollei Low-Contrast Developer or RLC is perhaps the most specialized developer I include in today's post. That is because RLC follows in the footsteps of several other developers designed for use with technical films. Designed to reduce contrast and provide the best results in films designed to incredibly high-resolution and fine detail, it is one of the developers you can use to develop that cold-stored Kodak Technical Pan and Agfa Copex when you don't have any Technidol or Formulary TD-3 on hand. It can also work well on regular films with a speed reduction. Sadly the bottle only has enough concentrate for four rolls of 35mm film, and it is a bit on the expensive side.

Nikon F5 - AF Nikkor 35mm 1:2D - Fujifilm Neopan Acros 100 II @ ASA-40 - Rollei RLC (1+4) 14:00 @ 20COlympus OM-2n - Olympus G.Zuiko Auto-W 1:3.5 f=28mm - Rollei Ortho 25 @ ASA-25 - Rollei Low Contrast (1+4) 8:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Rollei Retro 400s @ ASA-200 - Rollei RLC (1+4) 9:00 @ 20CMamiya m645 - Mamiya-Sekor C 35mm 1:3.5 N - Kodak Technical Pan @ ASA-32 - Rollei RLC (1+4) 6:00 @ 20C

Now, this is only a starting point; there are tonnes of other options out there for your personal black & white development. I haven't even scratched the surface of all the wonderful developers being produced by Adox, and then there's motion picture developers, two-bath, monobath. It is a big wide world of chemistry out there today! But if this helps you get a decent set of chemistry for (almost) everything you want to do with your development, then I'm happy.

#tutorials #adox #chemistry #d76 #ddx #developers #fa1027 #film #filmphotography #hc110 #homedevelopment #ilford #ilfotechc #kodak #microphen #perceptol #photographersformulary #pyrocathd #rodinal #rolleirlc #tmaxdeveloper #xtol

Camera Review Blog No. 134 – Hasselblad 503cx

The Hasselblad V-System, one that has achieved legendary status within the photographic community. I'm surprised that I actually own the original 500c, and while I don't use it as much as I used to, it remains a popular tool in my kit. But what about going with something a little newer? The original 500c saw its initial release in 1957 and certainly has flaws, but as a system camera, it started something. While the 503cx isn't the newest horse in the stable, it adds a pile of features that makes up a greatly improved camera system but allows the use of the older accessories. And while I have a couple of older lenses and magazines for the back, my good friend James Lee was more than happy to loan out almost his entire kit for the 503cx to review. And what a camera it is, familiar yet improved, and the same joy to use as the 500c.

The Hasselblad 503cx seen here with Planar 80mm f/2.8 T* and a PME 45 Degree Metered Finder. Also pictured are the Distagon 50mm f/4 and the Sonar 150mm f/4 lenses.

Camera Specifications
Make: Hasselblad
Model: 503c/x
Type: Single Lens Reflex
Format: Multiple, Back Dependent (120/220 Standard, 6×6)
Lens: Interchangable, Hasselblad V-Mount
Shutter: Compur Leaf Shutter, 1″ - 1/500″ + Bulb
Year of Manufacture: 1989 - 1994

Background
Hasselblad as a camera company can trace back to a chance meeting between the son of Franz Victor Hasselblad, Arvid Vikor and George Eastman during Arvid’s 1885 honeymoon in London, England. Arvid’s father operated a trading company in Sweeden that dated back to 1841 and sold household goods. Arvid and George reached an agreement to allow the F.W. Hasselblad & Co company to be the sole distributor of Eastman’s photographic supplies. Fritz saw the photographic supplies more as a means to feed Arvid’s love of photography, more than a means for profit. Yet by 1908 the photographic division began profitable enough to create Hasselblad Fotografisk AG. Arvid’s son Karl wanted to further the company’s photographic prowess and sent his son, Victor, to study under the great photographic companies. In 1924 Victor went to Dresden, Germany, the world’s centre of the photographic industry. Karl would work in factories, shops, and labs. During his time he became a noted photographer himself, and in 1926 he moved to the United States. George Eastman would take the great-grandson of his old friend under his wing as a protege, at least until Eastman’s death by suicide in 1934. Victor, encouraged by all his learned, began to publish his work and returned to his native Sweeden in 1937 and opened up his own Photographic business, selling, processing, print, and building cameras. Victor, who had been tinkering with the idea of building his camera, got a boost when the Sweedish airforce presented him with an ariel camera from a downed Luftwaffe aircraft. Victor would produce the HK-7 in 1941, which would become a successful camera used by the Sweedish airforce. The death of his father saw Victor appointed as head of Hasselblad Fotografisk in 1943. The move gave Victor access to a wider range of skills, including workers who produced timepieces and watches. He turned the entire company towards the production of an improved surveillance camera, the SKa-4. By the end of the war, Hasselblad had produced some 342 cameras. With the end of the war, Victor turned everything he learned with the HK-7 and SKa-4 to produce a high-quality civilian camera. The design of the camera came from the SKa-4 and refined by noted SAAB designer Siten Sason. The war and partition of Europe made acquiring German optics had Victor turn to the United States, and Kodak gladly supplied their high-quality Ektar lenses. In 1948 the Hasselblad 1600F was reviled. The early model 1600F proved over-engineered and incredibly complex, which gave a bit of a poor reputation in reliability. A second version released in 1950 fixed some issues, but again suffered several of the same problems. Most of these were focused on the shutter, which required constant attention to maintain shutter speed accuracy. Hasselblad returned to the drawing board and in 1953 released the 1000F, it retained the focal plane shutter like the 1600F but proved far simpler with the internal workings. It also replaced the Kodak optics with Carl Zeiss optics, which helped lower the cost. A timely and favourable review by the American magazine, Modern Photography, put the 1000F on a pillar and launched Hasselblad into the limelight and made them a household name. But they weren’t done yet, to further improve on the reliability of the Hasselblad and decided to take a massive risk. The risk came in the form of the Hasselblad 500c released in 1957. Hasselblad decided to replace the focal plane shutter with a lens mounted Compur shutter, the risk was that leaf shutter cameras were often associated with a consumer camera, not professional. But Hasselblad continued to use high-quality Zeiss optics, and introduce the idea of a system camera. Users could swap out the lens, finder, and even the film back. And the film backs can be swapped out mid-roll thanks to a darkslide. Professionals flocked to the new camera that proved a huge winner and set a new benchmark for a professional camera. The 500c caught the eye of NASA, the American space program, who set up a contract to put Hasselblad cameras in space. The NASA contract the 500c became the base for the Hasselblad 500EL (and Electronic 500c) in 1965. Production of the 500c ended in 1970 with the introduction of the improved 500c/m. But the 500c/m could still use all the old backs, lenses, and finders, production of the c/m continued until 1994. During this time, Hasselblad also released the 503cx in 1988. While primarily the same camera as the c/m, the 503cx included several improvements. It came standard with an improved Acute Matte focusing screen and Palpas coating to cut back any internal reflections. Most important is an internal TTL flash meter. Production of the 503cx continued until 1994, but the logical replacement, the 503cw did not see release until 1997 and added an improved Acute Matte D screen and a gliding mirror system for improved use of telephoto lenses.

Hasselblad 503cx - Carl Zeiss Distagon 4/5- T* - Rollei RPX 400 @ ASA-200 - Rollei Supergrain (1+12) 6:15 @ 20CHasselblad 503cx - Carl Zeiss Distagon 4/5- T* - Rollei RPX 400 @ ASA-200 - Rollei Supergrain (1+12) 6:15 @ 20CHasselblad 503cx - Carl Zeiss Distagon 4/5- T* - Rollei RPX 400 @ ASA-200 - Rollei Supergrain (1+12) 6:15 @ 20CHasselblad 503cx - Carl Zeiss Distagon 4/5- T* - Rollei RPX 400 @ ASA-200 - Rollei Supergrain (1+12) 6:15 @ 20C

Impressions
What surprises me the most about the 503cx is that it is no heavier or no lighter than my 500c but it certainly performs better than the older model (no surprise). In a common setup, that being the 80mm f/2.8, A12 back, and a waist-level finder, it is a surprisingly compact camera to carry around and is well balanced and doesn't weigh you down too much. The one thing I do recommend is a good strap. The only that I borrowed came with a beautiful hand-crafted leather strap from my good friend Mark Rossi of Due North Leather. Despite being similar to the older model, the 503cx does have some different controls, namely an ASA setting wheel to help with the internal flash TTL meter. If you're familiar with the 500 series, then using the 503cx will be like riding a bicycle, it might take a bit if you're unfamiliar, but once you got it, you can easily use any camera in the system. The one thing that I did like was on the modern lenses, it is far easier to adjust the exposure settings since they are no longer coupled (like they are on my old chrome units) and there are leavers to help make the settings and differences in textures to help determine with dial does what setting. Probably the best addition is the viewfinder, the Acute Matte screen is bright and clean and makes focusing without the magnifier easy, but when doing close work the magnifier helps out a great deal. Focusing the lenses is smooth and the winder is equally smooth and the shutter, mirror, and doors make a delightful clunk when you take a photo.

Hasselblad 503cx - Carl Zeiss Distagon 4/5- T* - Rollei RPX 400 @ ASA-200 - Rollei Supergrain (1+12) 6:15 @ 20CHasselblad 503cx - Carl Zeiss Distagon 4/5- T* - Rollei RPX 400 @ ASA-200 - Rollei Supergrain (1+12) 6:15 @ 20CHasselblad 503cx - Carl Zeiss Distagon 4/5- T* - Rollei RPX 400 @ ASA-200 - Rollei Supergrain (1+12) 6:15 @ 20CHasselblad 503cx - Carl Zeiss Distagon 4/5- T* - Rollei RPX 400 @ ASA-200 - Rollei Supergrain (1+12) 6:15 @ 20C

Experiences
If you have used any of the 500-Series, or V-System then working with the 503cx will be both familiar and a little different. If you look at a Hasselblad the first time you probably will think that the camera is a bear to use, and you'd be right, they aren't the best when it comes to economics. But remember that the cameras were designed on a former surveillance camera designed to be mounted in an aeroplane. Yet, being a user of a 500c, the 503cx proved an easy experience. But there are a couple of things that add to the Hasselblad experience with the newer body. The first is the screen, the 503cx comes with not only the ability to change out focusing screens but having the stock Acute Matte focusing screen, which is big, bright, and makes focusing with or without the magnifier. And that goes for any lens, I've had the chance to use the 50/4, 80/2.8, and 150/4 and the screen remain bright and easy to use. And using the waist level finder is probably the most natural means to use the 503cx (or any V-System camera). Although I also had a chance to use the camera with a PME finder, not the older version (45° Metered Prism) but the PME finder. And it actually works well both mounted on a tripod but also handheld, although a handgrip would make life a little easier. The one thing that should be noted is that the PME finder is metered but displays in EV (Exposure Value) which is handy for older C lenses, which include the EV on the lens body, newer lenses lack. The one strange Despite everything, the camera is a joy to use, and surprisingly compact when properly equipped.

Hasselblad 503cx - Carl Zeiss Distagon 50mm 1:4 T* - Fomapan 100 @ ASA-100 - FA-1027 (1+14) 9:00 @ 20CHasselblad 503cx - Carl Zeiss Planar 80mm 1:2.8 T* - Fomapan 100 @ ASA-100 - FA-1027 (1+14) 9:00 @ 20CHasselblad 503cx - Carl Zeiss Planar 80mm 1:2.8 T* - Fomapan 100 @ ASA-100 - FA-1027 (1+14) 9:00 @ 20CHasselblad 503cx - Carl Zeiss Sonar 150mm 1:4 T* - Fomapan 100 @ ASA-100 - FA-1027 (1+14) 9:00 @ 20C

Optics
One of the biggest draws to the 500-Series from Hasselblad is the optics. And if you look at Hasselblad overall they have always used excellent optics, from the early focal plane shutter models using Kodak Ektar lenses to the current batch of Carl Zeiss optics. And the best part is that you can use any V-Mount lens, although for best compatibility you will want to stick with C or CF lenses. While a T* coating is a nice addition, it does help a lot with flare issues that the lenses suffer from, especially the Planars, but a good hood will help reduce the flare. I tried to be careful but did catch some flare a couple of times with the 50mm f/4 Distagon. The 503cx looks excellent with the all-black lenses, you will pay a bit more for the newer optics, the Chrome lenses (C) are older but excellent as well and if you are only using a leaf shutter, then you don't have to worry about focal plane support. The only thing to worry about is ensuring that you mount and dismount while the shutters are cocked to avoid damaging the body and the lens.

Hasselblad 503cx - Carl Zeiss Sonar 150mm 1:4 T* - JCH Streetpan 400 @ ASA-400 - Rollei Supergrain (1+12) 7:00 @ 20CHasselblad 503cx - Carl Zeiss Planar 80mm 1:2.8 T* - JCH Streetpan 400 @ ASA-400 - Rollei Supergrain (1+12) 7:00 @ 20CHasselblad 503cx - Carl Zeiss Planar 80mm 1:2.8 T* - JCH Streetpan 400 @ ASA-400 - Rollei Supergrain (1+12) 7:00 @ 20CHasselblad 503cx - Carl Zeiss Planar 80mm 1:2.8 T* - JCH Streetpan 400 @ ASA-400 - Rollei Supergrain (1+12) 7:00 @ 20C

Lowdown
While the 503cx isn't a camera that you need, if you are looking for an update from an older model, say a 500c then a 503cx might be the camera you're looking for. And the best part is that if you're already invested in the 500-series all you're going to be looking for is the camera body proper. However, they are not cheap on the used market. The bodies on their own will run between 1,500 and 2,100 dollars, and between 3,500 to 5,000 for a complete kit (lens, back, body, and finder). Surprisingly, being a newer unit, they are less expensive than 500cm units. The one thing to watch out for is to ensure the back is for 120 film, while you can use 120 film in a back designed for 220 film, you will lose one frame and start getting frame spacing issues. These backs are called A12 or 12 as opposed to A24 or 24. But these are well made and easily repaired and maintained by trained technicians. The funny part about Hasselblads is that they do carry their value well, even the older models and given the late 20th Century age of the 503cx they will carry more. If you're not into film or want to use these cameras for digital photography, you can, the Hasselblad CFV II 50C offers up a 50-megapixel CMOS sensor. And it also works with older units. As I started, Hasselblads aren't always cameras that you need, they are cameras that you want. But the one thing they can deliver is excellent image quality and a strange experience.

Further Reading
Don't just take my word on the 503cx, you can check out the reviews by other awesome camera reviewers!
35mmc - 5 Frames with the Hasselblad 503cx
5050 Travelog - Hasselblad 503cx Review
Munkeat Photography - Hasselblad 500cm/503cx Review
Film Advance - The Hasselblad Travel Camera

#camerareviewblogs #camera #camerareview #canada #carlzeiss #fa1027 #fomapan100 #gear #hasseblad503cx #hasselblad #jchstreetpan400 #oakville #ontario #palmerston #review #rolleirpx400 #rolleisupergrain #streetsville

Foma:52 – Week 21 – Yorklands

I can always remember seeing this massive building off in the distance going to and from Guelph when visiting my Opa. When I first got to see the building up close, it wasn't as big as I thought it was. In fact, it was rather small. I'm talking about the former Guelph Jail. I've known it has been abandoned and closed for some time, and back in the day, I always contemplated trying to sneak in under cover of darkness. But things never aligned properly, I did get a chance to see inside during the one Guelph Doors Open event I attended in 2009. The walkthrough was rather restrictive, and the event committee had put a blanket no interior photography rule over every site (although some sites ignored that one), so all I had to show for the trip was a bunch of exterior shots while waiting in line. But earlier in the year, I happened across an online event on my Facebook feed about an online talk about the Yorklands, the property on which the jail sits and how a local community group has opened it up as public greenspace. I jumped on the event and attended through Zoom and discovered that it is perfectly legal to walk onto the property (the jail is off-limits, but you can get close, and I marked it down as a theme for this project. And though it has been delayed, I took the chance and visited the Victoria Day long weekend. Oddly enough this is the fourth such prison site that I have visited with a shared history of early 21st Century shut down, the other three being Kennedy House, Millbrook and Rideau.

The Main Administration Building, you can't even see inside, but from another angle, you can see plenty of items are left inside.
Nikon FM - AI Nikkor 28mm 1:3.5 - Fomapan 100 @ ASA-100 - FA-1027 (1+14) 9:00 @ 20C

The site of the Guelph Correctional Centre has a long history tied to the early settlement of the region. The site's use as a reformatory starts in 1909. William Hanna begins a wide-reaching system of prison reforms to modernize Ontario's correctional system. By the 20th Century, most prisons in Ontario pre-dated Canadian Confederation and had, rightly so, earned a rather poor reputation. While there were smaller regional jails, most were centred in major population centres. A new idea of reforming criminals rather than simply punishing them became clear and aimed to reshape the entire penal system across Canada. The government purchased the land and would use prison labour to start construction in 1910 on the Ontario Reformatory. The new prison would be based on designs by John Lyle, and materials would be quarried locally on the site. Construction would continue from 1911 to 1915, following the Beaux-Arts style. The new institution housed prisoners and put them to work through manufacturing and farming, both of which were in full operation by 1914. By 1916 some six hundred inmates were housed in Guelph. But the increase in hostilities during World War One forced the government to turn the facility into a Military Hospital starting in 1917. By the end of the war and the return of Canadian troops in 1919, the facility housed some 900 veterans of the Great War. In 1921 the facility returned to housing prisoners. The Guelph institution's workshops and farms would produce enough food to support its own prison population, and surplus sent out to smaller jails that lacked the property to operate farms. Blankets, metal and wood products would also come out of the prison, which was used to improve local parks through crushed stone and benches. Through the mid-century, the prison flipped through various uses of punishment and more reform-oriented attitudes. Sadly the prison was subject to riots, the largest taking place in 1952. Resulting in a violence intervention and staff training school, including the use of firearms being placed on the property. The train would come in handy as other prisons started to have riots in the second half of the 20th Century. In the 1960s, the prison farm at Guelph would hold public exhibitions, and several community efforts and service clubs would help run recreational programs. Sadly the budget cuts and changes in the correction system would end the Guelph Prison farm in 1972. However, that would not be the end of prison work on the farm, which continued in a trout processing and packaging plant that opened in 1982. The 1990s brought further reform to the prison system, prisoner labour and many additional rehabilitation programs were cut during that decade. There also was the move to larger super prisons rather than smaller regional units. Guelph was among those prisons to close in 2001, with the official decommissioning taking place in 2002. The heritage value would be realised in 2006, and efforts were undertaken to sell the property for adaptive reuse, and a decade later, work began to prepare the old jail for sale. This is where the Yorkland Green Hub stepped in with plans for the former prison grounds. Yorklands Green Hub aims to turn the property into a one-of-a-kind hub focusing on developing an education centre among the scenic streams, ponds, meadows, and trails. While their work continues, the ground remains open for the public to use the green space, and they also offer tours and online seminars on the property.

The Ontario Coat of Arms at the top of the administration building.
Nikon FM - AI Nikkor 135mm 1:2.8 - Fomapan 100 @ ASA-100 - FA-1027 (1+14) 9:00 @ 20CThe central tower marks the start of the prison itself. Notice the hallway connecting the jail to the admin building?
Nikon FM - AI Nikkor 28mm 1:3.5 - Fomapan 100 @ ASA-100 - FA-1027 (1+14) 9:00 @ 20C

It would be easy to focus my image choices on the prison itself as it was the main draw to the site. In comparison, I couldn't actually get inside the prison itself, although I should see about arranging access. I did get a handful of images of the landscape options at the Yorklands site. My main draw was the prison, which makes up all the images I include in today's post. The first one being the administration building; while not the first building you will see on the site, it is the one that continues to draw you up the long driveway into the site. Having the longer lens, I captured the interesting inclusion of the Ontario Coat of Arms. And, of course, the main prison tower at the centre of the complex. The cornerstone is also included because it includes the premiere at the time, Whitney, who has another abandoned government building in his name in Toronto. While I did try to find my way around the fence line by walking around the one side, there were no gaps, but I did get an idea of the scale of the property. So I ended up having to shoot the chapel through the chainlink fence and including the warden's house, which was not as grand as I thought.

The corner stone at the front of the admin building. I didn't notice it until I got up close.
Nikon FM - AI-S Nikkor 50mm 1:1.8 - Fomapan 100 @ ASA-100 - FA-1027 (1+14) 9:00 @ 20CLooking around the back, you can see the mix of stone and brick construction.
Nikon FM - AI Nikkor 28mm 1:3.5 - Fomapan 100 @ ASA-100 - FA-1027 (1+14) 9:00 @ 20C

Given the wide range of photographic opportunities, I returned this week to having a three-lens kit with me. Going with my 28mm, 50mm, and 135mm. The reason was to get both wide-angle and detail shots, especially when some shots were out of range of getting in closer with my feet; I had to get in closer with optics. The day was nice and bright, and I probably could have gotten away with having a filter, but with all the lens switching and the desire to get faster shutter speeds (1/250″ with the 135mm), I decided that the filter was better off on my Nikon FA shooting a faster film. I shot the Fomapan at its box speed of ASA-100 and developed it in FA-1027; I had developed a roll a couple of weeks ago using this developer for the Hasselblad 503cx review and loved the results in 120, so I decided to give it a go with 35mm and came up with equally excellent results.

The Prison chapel, this one was difficult to photograph as I had to shoot through a chain link fence.
Nikon FM - AI Nikkor 28mm 1:3.5 - Fomapan 100 @ ASA-100 - FA-1027 (1+14) 9:00 @ 20CThe warden's house is still on the site as well.
Nikon FM - AI Nikkor 28mm 1:3.5 - Fomapan 100 @ ASA-100 - FA-1027 (1+14) 9:00 @ 20C

Next week we're heading back into the Halton region, and exploring a historic farm north of Milton but also travelling another section of the Bruce Trail.

#foma52 #52rollproject #canada #fa1027 #fomapan100 #guelph #guelphreformatory #nikkor #nikonfm #ontario #yorklands #yorklandsgreenhub

Optical Review Blog No. 16 – Olympus Zuiko Auto-Zoom 1:4 f=75~150mm

I've quickly learned over the three previous reviews of Olympus lenses that there is a certain polarization when it comes to Zuiko glass. In most cases, Zuiko glass is well received by those who use the OM system. But only some lenses and those are usually the ones that fetch the highest price on the used market. And then there's this lens. Now I'm only recently starting to make more use of zoom lenses, and I have the Minolta Maxxum system to thank for it, so if this review seems clunky, it's because this is the first zoom lens I've reviewed in this series. The Zuiko 75-150/4 at some point in the recent future received a bad review online or as another site mentioned, not uniformly positive. And I can see where these folks are coming from, mostly they're shooting on digital cameras through an adapter, also the lens is a single-coat so performance is reduced and an increase chance of flare (there is a built-in hood) and there are some discussions around sharpness. Also lack of contrast when shot wide open. But I love an underdog lens, so let's dig into this optical quagmire.

Lens Specifications
Make: Olympus
Model: Zuiko Auto-Zoom 1:4 f=75~150mm
Focal Length: 75-150mm
Focal Range: ∞ - 1.6m
Aperture: f/4 - f/22, 8 Blades
Structure: 15 Elements in 11 Groups

You can see on the left side at 75mm (left side) there is a slight amount of distortion in the straight lines, which is not present at 150mm (right side). Both are shot at f/8.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Build Quality
When it comes to the lenses for the OM system I'm used to fairly compact glass. Small, almost pancake-style lenses allow you to easily carry several different lenses without taking up too much real estate in your camera bag. The 75-150 is by no means a small lens, but it's also not the largest zoom lens of this nature that I've ever worked with. One of my first zoom lenses was a Kiron 75-150mm f/4 that I got with my Minolta SR-T 102 and it stayed with me into the X-7a. The Kiron was a beat of a lens next to the Zuiko and the massive Vivitar Series 1 I have for the OM-System is even bigger. This puts everything into context, meaning that the 75-150 Zuiko is not that big of a lens. The lens is a solid build, all-metal, a 52mm filter size and a built-in lens hood. There are two control rings a smaller one that controls the focal length that is stepless but has marks at 75, 85, 100, 120, and 150 marks. The focus ring is wide and smooth but has a long travel, not exactly ideal but the smooth operation makes life easy. While the focusing does change the lens length, the zoom features are all internal. And that is one of the key things I like about the lens is that despite being built in an era when push/pull style zoom lenses remained popular, Olympus bucked the trend and went with a twist style zoom control. The other issue remains the coating, use that lens hood to help that and also check the location of the sun relative to where your subject and composition is, it might help reduce the amount of flare and contrast issues.

At f/4 you can see fall off at your corners, which are far more visible at 75mm (left) than 150mm (right) but can still be seen in both.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CAt f/5.6 the fall-off is far less visible, but still present at 75mm (left) and is almost gone at 150mm (right) but can still be seen in both.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CHere at f/8, the fall-off is gone, and the sharpness has certainly improved.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
By f/11 the sharpness is much more improved and a decent amount of depth of field has been gained.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
There isn't much difference between the images shot at f/11 and f/22, save for an increase in your depth of field.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Image Quality
There is probably some truth to the downsides of this lens. One of the first things I noticed is that at the 75mm mark, if you focus too close there is a bit of distortion on your straight lines, it's not overly noticeable but it is there. I am unsure at which point that the distortion goes away, but it is gone at the 150mm mark. With the lens wide open at f/4 there is a loss of contrast, and fall off at your corners. This falloff is noticeable at f/4 and remains in place at the f/5.6 mark and by f/8 it is gone. When it comes to the lens' sweet spot I would stick that between f/8 and f/22, which can be annoying with a telephoto zoom lens, but you can't do much about it beyond getting a different lens. When it comes to image sharpness, I wouldn't rate this lens as the best, especially at those first two apertures f/4 and f/5.6, although sharpness has improved by f/5.6 over f/4. By f/8 the images sharpness is close to what I would expect from other Zuiko lenses. The out-of-focus areas are smooth but fairly vanilla, nothing overly exciting. This is not a lens that loves being shot wide-open so if that's your standard way of shooting, this might not be the best lens.

Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Applications
The one thing I'm missing in my OM-System is a short telephoto lens, a 100, 105, or 135. Sadly while many lenses in the OM-System can be had for an inexpensive price, the short telephotos are in demand and carry a premium in the used market. But I can see myself forgoing adding one such lens to my kit for the time being as I do have this lovely zoom lens. Excellent addition to any travel kit, while I wouldn't use it for street photography on the fly, posed street portraits or portraits, in general, would be an excellent use of this lens, just add that extra couple of stops to f/5.6 or f/8 to improve your image quality and help get that whole subject in focus. I can also see this for nature work and landscape with the f/22 aperture as well as detail work in architecture. Although give the short maximum focal length of 150, it wouldn't be my first choice for sports or wildlife photography. But I can see it working well for outdoor events, the f/4 is a little slow for working indoor but the addition of a flash will certainly help give the needed light or some fast film and push developing.

Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

The Low Down
I would recommend this lens, providing that you're shooting the glass on a film body. I think much of the malalignment of the lens comes from those who choose to adapt the lens and shoot it on digital cameras where you're starting to see that loss of contrast and poor image quality when opened right up. But I cannot fault the lens for being designed for a film camera being shot on a modern digital. And the best part is because of all the bad reviews you can pick up one of these for a low cost on the used market. While there are some outliers with expensive versions, most are running for under 100$, look for one that has a cost between 50-80$ to ensure that your copy is decent. But you can find ones that are cheaper that are probably as good, but best to ask a few questions before dropping cash.

Further Reading
Don't just take my view on the Zuiko 75-150 f/4, check out these other reviews.
Imaging Pixel - Legacy Lenses Review: Olympus Zuiko OM Auto-Zoom 75-150mm F4
Mir.com - MF Zuiko Wideangle Zoom Lense 75-150mm f/4.0

#opticalreviewblog #believeinfilm #camera #canada #fa1027 #filmisalive #filmisnotdead #gear #kodaktmax400 #lens #lensreview #milton #olympusom2n #olympuszuikoautozoom14f75150mm #ontario #review #zukio

Optical Review Blog No. 16 – Olympus Zuiko Auto-Zoom 1:4 f=75~150mm

I've quickly learned over the three previous reviews of Olympus lenses that there is a certain polarization when it comes to Zuiko glass. In most cases, Zuiko glass is well received by those who use the OM system. But only some lenses and those are usually the ones that fetch the highest price on the used market. And then there's this lens. Now I'm only recently starting to make more use of zoom lenses, and I have the Minolta Maxxum system to thank for it, so if this review seems clunky, it's because this is the first zoom lens I've reviewed in this series. The Zuiko 75-150/4 at some point in the recent future received a bad review online or as another site mentioned, not uniformly positive. And I can see where these folks are coming from, mostly they're shooting on digital cameras through an adapter, also the lens is a single-coat so performance is reduced and an increase chance of flare (there is a built-in hood) and there are some discussions around sharpness. Also lack of contrast when shot wide open. But I love an underdog lens, so let's dig into this optical quagmire.

Lens Specifications
Make: Olympus
Model: Zuiko Auto-Zoom 1:4 f=75~150mm
Focal Length: 75-150mm
Focal Range: ∞ - 1.6m
Aperture: f/4 - f/22, 8 Blades
Structure: 15 Elements in 11 Groups

You can see on the left side at 75mm (left side) there is a slight amount of distortion in the straight lines, which is not present at 150mm (right side). Both are shot at f/8.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Build Quality
When it comes to the lenses for the OM system I'm used to fairly compact glass. Small, almost pancake-style lenses allow you to easily carry several different lenses without taking up too much real estate in your camera bag. The 75-150 is by no means a small lens, but it's also not the largest zoom lens of this nature that I've ever worked with. One of my first zoom lenses was a Kiron 75-150mm f/4 that I got with my Minolta SR-T 102 and it stayed with me into the X-7a. The Kiron was a beat of a lens next to the Zuiko and the massive Vivitar Series 1 I have for the OM-System is even bigger. This puts everything into context, meaning that the 75-150 Zuiko is not that big of a lens. The lens is a solid build, all-metal, a 52mm filter size and a built-in lens hood. There are two control rings a smaller one that controls the focal length that is stepless but has marks at 75, 85, 100, 120, and 150 marks. The focus ring is wide and smooth but has a long travel, not exactly ideal but the smooth operation makes life easy. While the focusing does change the lens length, the zoom features are all internal. And that is one of the key things I like about the lens is that despite being built in an era when push/pull style zoom lenses remained popular, Olympus bucked the trend and went with a twist style zoom control. The other issue remains the coating, use that lens hood to help that and also check the location of the sun relative to where your subject and composition is, it might help reduce the amount of flare and contrast issues.

At f/4 you can see fall off at your corners, which are far more visible at 75mm (left) than 150mm (right) but can still be seen in both.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CAt f/5.6 the fall-off is far less visible, but still present at 75mm (left) and is almost gone at 150mm (right) but can still be seen in both.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CHere at f/8, the fall-off is gone, and the sharpness has certainly improved.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
By f/11 the sharpness is much more improved and a decent amount of depth of field has been gained.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
There isn't much difference between the images shot at f/11 and f/22, save for an increase in your depth of field.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Image Quality
There is probably some truth to the downsides of this lens. One of the first things I noticed is that at the 75mm mark, if you focus too close there is a bit of distortion on your straight lines, it's not overly noticeable but it is there. I am unsure at which point that the distortion goes away, but it is gone at the 150mm mark. With the lens wide open at f/4 there is a loss of contrast, and fall off at your corners. This falloff is noticeable at f/4 and remains in place at the f/5.6 mark and by f/8 it is gone. When it comes to the lens' sweet spot I would stick that between f/8 and f/22, which can be annoying with a telephoto zoom lens, but you can't do much about it beyond getting a different lens. When it comes to image sharpness, I wouldn't rate this lens as the best, especially at those first two apertures f/4 and f/5.6, although sharpness has improved by f/5.6 over f/4. By f/8 the images sharpness is close to what I would expect from other Zuiko lenses. The out-of-focus areas are smooth but fairly vanilla, nothing overly exciting. This is not a lens that loves being shot wide-open so if that's your standard way of shooting, this might not be the best lens.

Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Applications
The one thing I'm missing in my OM-System is a short telephoto lens, a 100, 105, or 135. Sadly while many lenses in the OM-System can be had for an inexpensive price, the short telephotos are in demand and carry a premium in the used market. But I can see myself forgoing adding one such lens to my kit for the time being as I do have this lovely zoom lens. Excellent addition to any travel kit, while I wouldn't use it for street photography on the fly, posed street portraits or portraits, in general, would be an excellent use of this lens, just add that extra couple of stops to f/5.6 or f/8 to improve your image quality and help get that whole subject in focus. I can also see this for nature work and landscape with the f/22 aperture as well as detail work in architecture. Although give the short maximum focal length of 150, it wouldn't be my first choice for sports or wildlife photography. But I can see it working well for outdoor events, the f/4 is a little slow for working indoor but the addition of a flash will certainly help give the needed light or some fast film and push developing.

Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

The Low Down
I would recommend this lens, providing that you're shooting the glass on a film body. I think much of the malalignment of the lens comes from those who choose to adapt the lens and shoot it on digital cameras where you're starting to see that loss of contrast and poor image quality when opened right up. But I cannot fault the lens for being designed for a film camera being shot on a modern digital. And the best part is because of all the bad reviews you can pick up one of these for a low cost on the used market. While there are some outliers with expensive versions, most are running for under 100$, look for one that has a cost between 50-80$ to ensure that your copy is decent. But you can find ones that are cheaper that are probably as good, but best to ask a few questions before dropping cash.

Further Reading
Don't just take my view on the Zuiko 75-150 f/4, check out these other reviews.
Imaging Pixel - Legacy Lenses Review: Olympus Zuiko OM Auto-Zoom 75-150mm F4
Mir.com - MF Zuiko Wideangle Zoom Lense 75-150mm f/4.0

#opticalreviewblog #believeinfilm #camera #canada #fa1027 #filmisalive #filmisnotdead #gear #kodaktmax400 #lens #lensreview #milton #olympusom2n #olympuszuikoautozoom14f75150mm #ontario #review #zukio