Travelling light , down to heavy gear !!!

I was a big fan of root, big photographic equipment but since some years ago, I totally changed my mind about what stuff should I bring with me.

For a very long time, I used to travel with a dSLR, a couple of lenses and a compact camera, for example, a Canon with a 24-70 L and very likely a 17-40 L, but although excellent for nature and landscapes, this combination can be very annoying for "normal" travelling, like for example, to visit European cities. It's just too heavy, brings a lot of attention and honestly, you will hardly notice any improvement in your photos.

Then I decided to forget about carrying two or three lenses and instead, opted for a Canon 24-105 IS STM. Okay, just one lens, but still heavy and clumsy.

For the same weight I could carry all my micro four thirds equipment, now composed by a Panasonic GX85, plus four lenses, covering from 9mm to 250mm, and still able to include my venerable (and much adored) Panasonic LX100.

Okay, in 90% of the situations this MFT setup works fine, it's very comfortable to use and can fit in a small bag, and WAY better than any conceivable mobile phone. But not so great for what I like the most: Low-light photography.

For some reasons I explained in an old post, I decided for the Sony A7 (I have both the II and III) and opted to not use Sony's glass, using instead, the canon lenses I already had although with the Sigma MC-11 Canon to Sony adapter. 

At that moment my Canon lenses were the EF 24-85 3.5-4.5 USM, EF 17-40 F4 L, 40mm F2.8 STM complemented by some cool manual focus old gems.

I got stunning results from this setup, but the problem was that unfortunately the final weight was way above of what I consider comfortable to carry around and still clumsy.

After digging for some months, I ended up with a very good balance for a basic all-round travel kit:

- Sony A7 III

- Samyang/Rokinon 18mm F2.8

- Samyang/Rokinon 24mm F2.8

- Sony 28-60 F4-5.6 OSS

- Minolta MD 50mm F1.4 (with adapter)

- Minolta MD 135mm F3.5 (with adapter)

Nice weight, compact, not expensive and with a more than adequate performance for my needs.

The five lenses above mentioned are inexpensive, lightweight and have sharpness far beyond I usually need.

I still carry a decent compact, the LX100 or A Sony A6300 with the 16-50 PZ.

Depending on where I will be travelling, some lens variations may be expected, maybe a macro, who knows ?

Rolleiflex SL35

Updated on August, 18, 2022

Rolleiflex SL35

This is, in my opinion, the best 35mm camera made by Rollei. It's an all-mechanic camera body with a decent and reliable horizontal travel cloth shutter with speeds from 1s to 1/1000s.

The mid-sized, all-metal camera body feels very solid in hands but not too heavy. It's more compact than a Canon FTb or a Nikkormat, but larger than a Pentax MX. Feels good in hands and that's what matter.

It has no flash hot shoe (or even a shoe). If you plan to use a flash unit on it, you may need a flash bracketing mount or an accessory flash shoe that fits around the eyepiece frame.

This camera uses QBM mount lenses and it's compatible with 1-pin, 2-pin, and 3-pin units. It usually came with a very sharp 55mm f1.4 Rolleinar. According to some sources, it's a Mamiya design.

The viewfinder is large and clear, with a micro prism focusing aid at the center and a match-needle light meter on the right side.

About the mechanics, it's a very well-built and projected piece of hardware. It's simple, efficient and very easy to service.

The light metering mode is center weighted by two CDs cells and good for normal light use. Not quite in the league of Fujica's or Olympus' SPD system, but more than adequate. 

There are a very strange design feature, the depth preview and light metering button just near the film advance lever. When you press it, the iris closes to the proper aperture and the light meter is powered. This means that this camera has no automatic aperture reading for the light meter. By the way, it uses a PX625 battery for it. The light meter/DOF preview switch activates the light meter circuit.

It's very easy to confuse the LM/DOF button with the shutter button.

The first bad impression I had about the "electronics" was exaggerated. The light meter uses that awful 1.35v mercury battery, but you can use an alkaline without any problem because the meter circuit is actually a Wheatstone bridge and independent of the battery tension. Clever.

Please do not confuse the Rolleiflex SL35 with the SL35M. The later model has horrible and unreliable mechanics, especially the film transport gears and it's probably the worst camera from Rollei by a large margin. 

It's a cool camera if you plan to play with QBM lenses. There are some excellent, very sharp lenses for a good price on the second-hand market, like the Distagon 2.8/35, the Planar 1.8/50 and the Tele-Tessar 4/135. They form an excellent starter kit and will not make a hole in your pocket.

Look elsewhere if you don't have plans to play with QBM mount lenses. =)

Pros:

- Very well built

- Reliable

- Good viewfinder and focusing screen

- Compact

Cons:

- QBM lenses are not very easy to find

- Pristine models can cost a good money

Legacy Lenses 14 - Going WIDE ! Minolta MD W-Rokkor-X 17mm F4

The Minolta MD W-Rokkor-X 17mm F4 is one of the rarest and most interesting vintage optics from the film era and it's a masterpiece.

This was the widest rectilinear lens made for the MD system and a fantastic performer. It has an 11e/9g optical formula with floating elements.

Keep in mind that it's not easy to make such a wide lens geometrically corrected for a 24x36 mm frame. This is top notch optics even today and its performance rivals or even surpasses the Canon EF 17-40 F4 L, for half the price. 

It has very low distortion and it's considered rectilinear. Not too heavy (325g), reasonably compact and takes standard 72mm filters, but they need to have thin rings, otherwise some vigneting will occur.

I've been using this lens on a regular basis with the Sony A7-III and it works superbly. For me, it's a keeper.

Coma is nearly absent from F5.6 and it's very sharp on corners stopped down to F8. Let's say, it's very usable from F5.6 if you're worried about corner performance.

Warning: Servicing this lens is an extremely complicated task, do not attempt to CLA it unless you're a skilled technician, otherwise you will ruin it.

Pros:

- Compact

- Excellent performance

- Not too heavy

- Takes 72mm filters

Cons:

- Very rare to find

- Coma at corners wide open

- Blurry corners wide open (due to coma)

  

For more technical info and tests, please look here.

Legacy Lenses 13 - Minolta MD 135 F3.5 - Cheap and Razor Sharp

 

This lens is the proof that good stuff can be cheap and easy to find. The Minolta MD Tele Rokkor 135mm F3.5 was the budget telephoto lens for the Minolta SLRs, like the X700.

Not the best built from Minolta but feels sturdy and well-made, but it costs a fraction of the F2.0 and F2.8 versions. But it's a very solid performer with a very sharp frame from edge to edge even at maximum aperture.

The optical formula is 5e/5g and weighs only 285g making it one of the lightest 135mm ever.

Tested on the Sony A7-III and Panasonic GX85 with flying colors. This lens is on-par with the Zeiss Tele Tessar 135mm F4 and the Zeiss Sonnar 135mm F4.

Pros:

- Cheap

- Light

- Very sharp

Cons:

- Like all MD lenses, can not be used in most dSLRs without that dreaded adapters with optical elements.

  

Legacy Lenses 12 - Minolta MD 135 F2

This lens is a true monster. Large, heavy (725g) and built to last.

It dates from 1981 and it's very rare, maybe one of the rarest Minolta MD lenses. The optical formula is 6e/5g and it takes 72mm filters. It also has a built-in, retractable, metal lens hood.

Its performance is truly flawless, even wide open from corner to corner with incredible resolution at the center. Very low coma and astigmatism at F2.0 and a controllable CA.

I tested it with the Sony A7-II and A7-III. In my opinion, no modern lens  can match it for the same cost.

The only thing I want to suggest is to triple check for the 4th and 5th elements that are cemented together as a group. Be sure that this group has no fogging. If the lens has any signs of fog/haze on this particular group, avoid it.


Pros:

- Excellent optics

- Built to last

- Easy to service

- Bokeh master


Cons:

- Heavy

- Rare

- Expensive


Check here for more info.

Legacy Lenses 11 - SMC Pentax 50mm F1.2

This lens is a true classic from the '70s-'80s. It's an extremely compact large aperture normal. It was made from 1975 to 1984.

The optical formula is 7 elements in 6 groups SMC coated (multilayer coated). It delivers stunning results in mid-apertures and like all F1.2 primes from this era, somewhat soft borders wide open, but with an incredibly sharp center. 

The SMC coating is very effective against flare and ghosting, but I would always fit a lens hood on it just in case.

Very interesting for portraits when used with APS-size digital camera sensors and an available light monster. Be advised about the very shallow depth-of-field when wide open.

It's small and weights only 385g, making it one of the most compact and light F1.2 primes ever made.

The SMC coating is a very nice bonus. This lens copes well with flare, better that any other similar lens from this era.

Definitely a keeper and my favorite F1.2 lens. 

A joy to use with the Sony A7 series.

Pros: Sharp, light, compact

Cons: Not very easy to find

Photo Supreme Version 7 just lauched

On April 21th 2022, IDImager launched Photo Supreme version 7.

The upgrade from V6 costs $ 77 (-40% from the full price) and $129 for the full license (one user)

Why software as a service may be a very bad thing to you ?

Software as a service, aka SAAS is a business model that you subscribe for the right to use a program, paying for this in a regular way.

Those companies marketing teams sell the idea that this is a very good thing to you and they will keep the software always updated at no extra cost (Hahahahah ! Really?) And better: they try to convince you that this is more economic to you...

Reasons why I would never use a subscription-based software:

THE MONEY SINK

You will need to pay every single month to continue using it as long as you need. If you don't want to use it anymore, you may have to pay a fee to leave.

A typical plan will cost you much more in the long run than permanent licenses. Take Adobe's or Capture One's subscription plans and check by yourself.

FORCED MARRIAGE

The makers try to sell you the idea that you NEED updates forever. This may not be the case for a very significative portion of the users. You should have the right to decide if you need a specific update or not.

I have Photoshop Elements 11 and I don't think I will ever need a paid update for it, since I use it just for very basic stuff on JPEG images on a basic laptop computer.

HOSTAGE SITUATION

With SAAS you will always be a hostage of the software company in question. They have all the cards at their disposal.

UNCERTAIN FUTURE

If by some reason the referred company decides to stop the service you will certainly be very mad about this, especially if you just know how to use their software. Sounds familiar?

If someone else buys the company that makes the software you use as SAAS and decides to shut it down, you can't do anything, just cry.

Capture One Killed its Dedicated Versions

On January 18th, 2022, Capture One discontinued C1 dedicated versions for Sony and Nikon.

Now you must pay for the full product, much more expensive.

At the present day (Jan. 19th) you can still download C1 Express for Fuji.

https://www.captureone.com/en/account/download/capture-one-express-for-fujifilm

There are better options for less, like DxO Elite.

Free Powerful DAM: Photo Supreme Lite

IdImager launched a FREE, lite version of its awesome Photo Supreme.

It has the same features of the paid version, but it's limited to 5000 images per catalog.

More information here.

Kodak Retina S1 / S2

When someone talks about Kodak Retina cameras, they usually think about that fancy (and sometimes marvelous) 35mm folders made in Germany by Nagel, like the I (type 010), II (type 014), IIIc and IIIC (type 028) and sometimes the low-end Retinettes (non-folders).

The Retinas have their quirks, weirdnesses and sometimes questionable projects and materials, but they usually have very good optics from Schneider or Rodenstock and that's the key point. Some even have interchangeable lenses !

This extremely long series of cameras started in 1934 and ended in 1969, having dozens of models and sub-models, from folders to non-folders to SLR... They even made Retinas for Instamatic film cartridges !

The very last models were known as Retina S1 and S2 produced from 1966 to 1969 and both aren't folders and have a more "modern" looking. They are very "square looking" cameras and have fixed lenses and Albada-type visors, but no rangefinder.

There's only one type of lens, a Schneider-Kreuznach Reomar 45mm F2.8 coated triplet, attached to a very simple leaf shutter with 6 speeds (B and 1/30s to 1/250s) and a remote release socket. Don't be fooled by the simple 3-element design, this lens can deliver very good images when stopped down to F5.6 and F8. There is some light falloff in the corners when wide open.

The focus is done by estimation. No rangefinder. But you can always buy one of those fancy old-school hot-shoe mountable ones.

Like I always say, it's not difficult to get perfectly focused photos using just the scale if you use medium apertures.

It's a no-brainer camera. The top plate has a hot-shoe for electronic flash and a socket for flash cubes. At the bottom there is a battery compartment, but it's just for the flash cubes. The camera doesn't need batteries for operation.

The S1 (type 060) has no light meter but it has an interesting implementation of the sunny-16 rule for film exposure by setting the film sensitivity and adjusting the aperture and speed combination by "weather symbols". Clever and works extremely well in normal light conditions, but you can always use an external meter or even a mobile phone application.

The S2 (type 061) has a coupled selenium light-meter and believe it or not, it even shows a needle with the usual +/- scale to check the correct exposure.

Pros:

• Dirty inexpensive
• Large (but low contrast) viewfinder
• Well built
• No batteries needed
• Fun to use
• Incredibly, it can deliver very sharp images when stopped-down a little

Cons:

• No filter thread
• No low speeds (1s to 1/15s)
• Very odd lens cap size
• No rangefinder
• Like most Retinas, not the best mechanics. Treat it carefully, specially the very strange film rewind mechanism. Please check the manual before using the camera, otherwise you may break it.  

Retina Rescue

Retina S1 manual from Mike Butkus

and the S2 manual

Nikon F2 Personnal Impressions

The Nikon F2

The Nikon F2 was launched in 1971 and it was made until 1980. It's an all-mechanical, very sturdy, large and heavy camera. But it was also extremely reliable, aimed at the professional market.

The weight is nothing less than 840g without lens. It's compatible with Ai and old non-Ai lenses and has a huge, bulky removable prism with the light meter built in it. The DP-1 model has a match-needle light meter and the DP-2 has LEDs. The light meter works with two 1.5V button batteries.

The mechanical coupling of the lens with the light meter is clumsy. You need to match the lens "horns" (on the aperture ring) with a lever on the meter assembly, then turn the aperture to the lowest value to set properly the light meter.

The shutter is all-mechanic with speeds from 10s (combined with the self-timer) to 1/2000s and the curtain is made of titanium foil.

Personally, I think the F2 is a mix of good and bad things and it's up to you to decide, it's a matter of taste.

The viewfinder is excellent and there are at least 14 different focusing screens from Nikon if you need something more specific.

Pros:

- Sturdy

- Very reliable

- Excellent viewfinder

- Uses easy to find batteries

- Lasts for decades

- Mechanical

Cons:

- Very bulky and heavy

- Detachable finder-meter not very practical and clumsy to change shutter speeds.

- Overpriced

- Very awkward flash hot shoe that covers the rewind crank.

- So-so light meter.

I prefer smaller cameras, like the Nikon FM, but if you don't bother about weight it's a very good camera.

I ended up selling it.

Gentlemen Coders RAW POWER for Mac

Raw Power is one of the most rewarding raw image converters for Mac to date. It's powerful, simple, elegant yet affordable. If you have a Mac, it's a must-have.

Too long to post here.

Please follow this link (redirects to a page inside this blog)

Please note that this blog is not associated with any equipment or software maker. It reflects my own opinions and impressions, as stated in the disclaimer.

Icarex 35 and 35CS

 Update September 28th 2021

Icarex 35CS

This is a quite neat camera from the mid-'60s made by Zeiss Ikon, but the project was originally from Voigländer. Some people say that this camera is not so reliable, but mine is working perfectly except for the light meter.

It's a bulky and heavy all-mechanical camera with a very good viewfinder. Not exceptionally large, but very, very clear and it has a 45 degree split image focusing aid and a plain matt area.

The shutter speeds are from 1/2s to 1/1000s and it's very smooth and reliable compared to the Contarex and Contax rangefinder cameras from Zeiss. It's simple and less prone to jams. 

The Icarex was sold with finder options: A plain waist-level (like the ones found on TLRs), a simple prism and the dreaded CS. 

The last one has a so-so CdS light meter very prone to problems. The exposure setting is very awkward. First you need to set the speed on the top dial of the prism assembly and set the same speed on the shutter speed selector. Then you need to step down the lens by pressing the DoF/iris button near the lens mount and adjust the aperture until the light meter needle stays at the center. Not very practical. To make things even stranger the meter needle is at the TOP of the viewfinder area, along with the aperture number. At its top, we can see an exposure guide calculator. It uses a dreaded PX13 (625) mercury battery. Do yourself a favor, forget about it and use a handheld meter.

I prefer it with the simple prism (no meter).

Icarex 35

Note that the Icarex 35 and the 35CS are the same camera. The difference is the detachable prism model.

Icarex 35 with the standard prism

At this time I have four lenses:

- Skoparex 35mm F3.4 (6-elements, 5-groups)

- Tessar 50mm F2.8 (4-elements, 3-groups)

- Dynarex 90mm F3.4 (5-elements, 3-groups)

- Super-Dynarex 135mm F4 (4-elements, 3-groups)

All are single-coated and designed by Voigtländer (besides the Tessar). They take a very odd filter, Icarex B50 (different from Hasselblad's B50 !). They are quite sharp, but flares like crazy. A light hood is a must.

To be honest the greatest complication for this camera in the present time are the lenses. They are not that rare but they are odd. The lens mount remembers a cross between a Canon FD (lock) and an M42 screw mount (pin) ! 

There is an M42 Icarex 35 TM that have a normal 42mm screw mount.

Icarex camera lens mount

Icarex lens mount

The good:

- Not expensive

- Well-made

- Small but excellent viewfinder

- Reliable mechanics

- Good, but few lenses available

The bad:

- Light-meter wiring on the camera body not very reliable

- Light-meter prism-finder very clumsy

- Limited set of lenses for the Icarex mount, but plenty of them for the M42 version.

- Very stupid filter bayonet mount, with a misleading designation.

Photo Supreme Version 6 just launched !

 IdImager just released Photo Supreme version 6 with many improvements and bug fixes.

Worths a look if you need a professional-grade DAM

Download the test version here

This is, to my taste, THE best DAM available.

* This blog does NOT monetize or profit from any software or equipment maker

Scanning Negatives in Raw Uptated

New method, based on Automator App. No more complicated Folder Actions.

Please Verify

Updates on some topics and pages

 Hello everybody !

Some topics and pages may be missing for a while. I'm making some revisions and updates.

Stay tuned !

Zeiss Contarex 35 Electronic and 35 Mechanic

The Zeiss Contarex 35 Electronic was probably the most sophisticated camera of its time and was supposed to be an engineering marvel from Zeiss.

It's a massive, chrome-plated beast that impresses, at least looking at it. But it's very rare to have one working properly. 

The camera has a huge, very bright optical viewfinder that accepts interchangeable focus screens. The standard one is a fresnel-type with a micro prism collar and split image focusing aid. The viewfinder also shows the light meter and the shutter speed readings.

Ergonomics? What for? Just a very heavy brick-like body with a strange control layout. The focusing control is standard, but the aperture is linked to a wheel at the camera's front, near the prism box. The shutter speed control is around the counter, film advance, and shutter release button. 

This is a terribly complicated setup in terms of mechanics and a nightmare to CLA. Do not try to CLA it unless you're a very experienced technician. This camera demands a true expert for this.

Contarex 35 Electronic

The shutter is electronically controlled and this means that the camera needs batteries to work. It uses a strange choice, two "N" batteries, being the original mercury ones. But you can use alkaline as well, and the camera has a built-in battery test button.

If you really want to dig into this camera internals, please read this first. Again, be advised and do not try to service it unless you're a very skilled technician.

It's a very interesting camera IF you can find one in proper working order, but expect to pay $800 (working) to $1500 (for one in perfect condition), body only.

Avoid it if not working ! It may cost you an arm and a leg to get it repaired. If in good working order, it's a pleasure to use it.

The Contarex 35 Professional is the classical mechanical version of the previously mentioned camera. It's still very complicated to service. But it's far more reliable than the electronic model.

Contarex 35 Professional

The camera has no electronics of any kind, neither a light-meter. That's the good news, no unreliable mercury-battery powered tricky meter.

The shutter speeds go from 1s to 1/1000s and the curtain is made of cloth. The viewfinder is, like the electronic cousin, very clear and allows a precise focus.

Contarex 35 Professional
Top View

Not a cheap camera on eBay, but who knows when you will find one on a garage sale ?

Here is a small list of the available lenses for the Contarex

• 15mm F8 Hologon (outrageously expensive)
• 18mm F4 Distagon (veeery expensive)
• 21mm F4.5 Biogon (still veeery expensive)
• 35mm F2 Distagon (expensive)
• 35mm F4 Distagon (budget)
• 50mm F2.8 Tessar (budget)
• 50mm F2 Planar (expensive) *
• 55mm F1.4 Planar (very expensive)
• 85mm F2 Sonnar (expensive) *
• 135mm F2.8 Sonnar (expensive)
• 135mm F4 Sonnar (budget) *
• 250mm F4 Sonnar (no idea)

* My favorites, all insanely sharp.

Legacy Lenses 10 - Zeiss 50mm F2 Planar in Contarex Mount

 

Zeiss 50mm F2 Planar in Contarex Mount

This lens is a permanent classic and it's still has a very modern look even having more than 50 years!

The lens above was made for the Zeiss Contarex camera (not Contaflex). The material and craftsmanship are absolutely flawless. Sturdy but very smooth, truly precision made piece of Teutonic engineering.

Sharpness is not an issue. It's very sharp from F3.5 even at the corners and it has a jaw-dropping resolution at its center on any aperture from F4 to F11.

As an early model, although coated, its coating is not even close in performance compared to modern ones, but it works well if you use a proper light hood and avoid shooting directly against very bright light sources, so flare is a real issue with this lens.

The contrast and colors are excellent and work like a charm along with the Sony A7 series. Of course, you will need a CRX to Sony E adapter to use it with this camera.

Interesting things are the strange 8-blade iris opening with a peculiar star format in certain apertures, and the fact that this lens has no aperture setting ring. The aperture was set by a control wheel at the camera's body. The CRX adapters usually have an aperture control ring.

It's a rather expensive lens, with prices between $200 and $500 depending on the condition.

It can be an interesting pick if you find it in good shape and for a fair price, otherwise, I would suggest taking a look at the Rollei Planar 50mm F2 in QBM mount which has a very good HFT multi-coating and cost much less. But make no mistake, the craftsmanship of this Zeiss is FAR superior to any lens from Rollei in QBM mount.

Also, there are other better '50s for the price from Canon, Pentax, Olympus, and Minolta. But this lens is classic and a must-have for any serious collector.

Preventing Fungi on Camera Lenses

One of the most common questions in photography is about how to prevent fungi contamination on lenses and other photographic equipment. The solution is very obvious but there is a lot of misinformation on the internet that must be cleared.

First, know your enemy, the fungus.

• They like dark, humid places.
• Some of them don't care about the light, others do.
• About temperature, depending on the species, they can live from subfreezing arctic to equatorial jungles...

The common ground is the humidity, not the temperature unless we're talking about more than 50 degrees Celsius. Don't believe it? Temperatures in the Amazon rainforest can reach easily 42-43 degrees Celcius and there are LOTS of fungi there. Temperatures in cheese maturation caves are always below 10C and sometimes 5C. Plenty of fungi there... Each fungi strain has a specific optimal temperature range for development. 

Keep the humidity low and you'll make any fungus life much harder.

I use two Benro dry cabinets set to 35% RH and I had no problems with fungus since 15 years ago. You can also use hermetic pots with silica-gel, but you WILL need to heat the silica from time to time, or when the RH goes over 40% inside the pot. Put a small cheap hygrometer inside the pot, container, or whatever you use. The key is to have a good SEALED one. No good sealing = no protection.

About the UV urban legend (UV-C lamps, sunbath, etc.)

Some facts:

• UV-C is dangerous for skin and eyes
• UV-B and UV-C will damage or even destroy rubber parts
• UV-B and UV-C will NOT pass through the optical glass used on lenses. Just some part of the UV-A will pass and UV-A will NOT kill the fungus.

But someone said: Oh, but when I sunbathe my lenses I perceive that the fungus would not grow anymore!

Not so simple. What's messing up with the fungus is the HEATH, not the UV. It's easy to reach temperatures well over +40C under these conditions and this is what is disrupting the fungus growth. But the spores are far more resistant and they will probably survive and grow when the conditions turn favorable.

The only SURE way to kill fungi with UV is to expose the contaminated side of the elements directly to UV-C what means to disassembly the lens and I would not recommend this for obvious reasons. If you reached the point of disassembling the lens to do this, it would make much more sense to use a neutral detergent to remove the fungi, dirty and oil, then use a biocide like Lysoform or a Hydrogen Peroxide solution to kill the fungi and spores, rinse everything with water, dry and reassemble everything. NO NEED FOR UV this is stupid.

About X-Rays, the irradiation time needed for sterilization needs to be massive! That 1s dose from your dentist friend's X-Ray machine will do NOTHING and will just be a waste of the X-Ray emitter's life.