rick_drawbridge

Sony A7R : Sigma EX 12-24 F4.5-5.6 DG

Beautiful large format quality, Bruce. Images such as these increase my longing to return to 4x5 format...

For the 26th. Bronica ETRs : 150mm Zenzanon MC f/4 : Kentmere 400 : Spur Acurol-N McLaren

Cameras and lenses noted. Sigma DP3 Merrill : Sigma 50mm f/2.8 Macro Sigma DP3 Merrill : Sigma 50mm f/2.8 Macro Sony A7R : Sony FE 24-240mm f/3.5-6.3 OSS Nikon 1 v.1 : 1 Nikkor 10-30mm f/3.5-5.6

Some from a Bronica ETRs with a 150mm Zenzanon MC f/4 lens. The film was Kentmere 400 developed in Spur Acurol-N. Hub Birch Kawasaki Schizophrenia Shopping Bucket Touring

Some from a Nikon Nikkormat EL using a 35-85mm Vivitar Series 1 f/2.8 lens. The film was Arista EDU Ultra 100 developed in Spur Acurol-N. Grasses Abstract # 70 Disrepair No Pay Wave S is for Shiny Survivor

Gus Lazarri said: Don't use Alkaline formula batteries in ANY photographic application ! Good advice, Gus. However, I'm in the habit of removing batteries of this pattern from the device after use. Who knows, it may be weeks or months before I pick this camera up again! Before using a camera of this age I always fit new batteries and test it before loading film.

Thanks for the history of the Albinar name, Jeff ; invaluable information that has been pasted into an appropriate folder in this computer. It's great to get such first-hand information rather than relying on the Net.

Cameras and lenses as noted. Sigma DP3 Merrill : Sigma 30mm f/2.8 Macro Nikon1 v1 : 1 Nikkor 30-110mm f/3.5-5.6 Sony A7R : 200mm Asahi Takumar f/3.5 Sony A7R : 200mm Asahi Takumar f/3.5

James Bryant said : Did you mean 1976 or 1986 as to the date of introduction? Thanks James, I really need a proof reader. The ELW first made it's appearance in 1975.

At last, a decent copy of the illustrious Nikkormat ELW has come my way, in a virtually unmarked, softly glossy black skin. Definitely a joy to behold, and to hold. Introduced in 1986, the Nikkormat ELW was the second Nikon camera to incorporated an electronically controlled vertical travel shutter, following the Nikkormat EL of 1972. The only difference between these two cameras lies in the bottom plate, the ELW having an attachment point for its dedicated winder, the AW-1. Following on from the original Nikkormats, the shutter speed dial was moved to the camera top panel, rather more convenient and comfortable than the previous adjustment ring around the lens mount. A lockable ring around the base of the rewind handle sets the ISO rating, a vast improvement over the original fingernail-breaking ring beneath the lens, while the rewind handle also serves as a release for the camera back, with a lock to prevent accidental operation. Stepless shutter speeds from 4 sec to 1/1000 are provided within an ISO range of 25-1600. The EL features mirror lockup, exposure lock and center-weighted metering. Automatic exposure control has arrived in the shape of aperture preference, the camera selecting the appropriate shutter speeds and displaying these with a pointer in the viewfinder. Full manual metered control is available. Sadly, there is no indication of the selected aperture in the viewfinder. In many respects the camera is the forerunner of the Nikon FE, one of my perennial favourites, which carried sophistication to a higher level. This is a very heavy camera, beautifully engineered and finished with the silky feel of all functions typical of this era of Nikon cameras. Everything moves and adjusts and clicks into place, just as they should. The camera is unusual in that it runs on a 6v 4LR44 cell that is housed within the interior of the mirror box. To access it one must use the mirror-up lever to lift the mirror and slide a cover open in the base to reveal the battery. Removing/replacing the battery is really rather a fiddly operation as there's very limited space, and I've found the delicate use of a very small screwdriver is of assistance in levering the battery into a position where it can be gripped and withdrawn. There is a battery check button recessed into the rear of the camera that shines an orange light when the battery is alive and well. It's so well recessed that, even using a fingernail, I couldn't get it to operate, and the use of a pen tip was required to produce the light, rather to my relief. This switch was replaced by a more sensible sprung lever on the FE. Overall, the camera is very pleasant to use, having a nice bright viewfinder with microprism, fresnel and split image focusing aids. The film winder throw is short, the lever doubling as the power switch for the camera. I rather dislike this Nikon design as the lever of necessity stands away from the camera and tends to poke the user in the forehead when the camera is held in the vertical position. The shutter release is delightfully smooth and quiet. I quickly ran a film to test the ELW and was impressed by the consistency of both the exposures and the frame spacing. I'll post a selection of images below; the film was Arista EDU Ultra 100 developed in Spur Acurol-N. Regarding the lens. Albinar is not a well-known or highly-regarded brand, being a in-house brand of the Best Products Company, Inc., or simply Best, a chain of American retail stores. As with several other big retail operations in the USA and Europe, the lenses were imported and rebranded from a variety of sources and were inconsistent in quality. I have several Albinar lenses and they certainly show this variation, though one 135mm f/3.5 lens in my collection is a sterling performer. However, the moment I laid hands on this little zoom I knew it would be an asset, as it's practically identical to a Soligor lens I use frequently on the Canon FD cameras. Just who created these Japanese lenses is a mystery, though the construction, markings, feel and finish is of a very high standard. Here's a pic of the two lenses side by side. The Albinar lens is in tidy condition, with clean glass and perhaps a hint of Schneideritis on the interior paintwork behind the front elements. However, this really doesn't affect performance, and I was pleased with the results the lens turned in. Here are a few samples, and I hope you find something to like. Brickwork Corner Exhibition Fairy Pickets Still Life With Pails Sextant Reserved

For the 15th. Nikon FE : 35-70mm Vivitar f/2.8-3.3 : Ilford FP4 Plus : Spur Acurol-N Elements #80

Some from a Nikon FE with a 35-70mm Vivitar f/2.8-3.3 lens. The film was Ilford FP4 Plus developed in Spur Acurol-N. 82-88 Elements #81 Prow Still Pumping Oil Panhead Weathered

A tidy little entry-level Minolta X-300 that actually works, a couple of others I've had having succumbed to the dreaded capacitor failure. I tested it last week and rather enjoyed the experience, so I might use it again this weekend.

Some from a Sony A7R, lenses noted. Tamron Adaptall II SP 500mm f/8 Mirror (Model 55B) Sony FE 24-105mm f/4 G OSS 200mm SMC Pentax-M f/4 Sony FE 24-105mm f/4 G OSS

arthur_mcculloch2 said: "Bronica ETR, 150mm lens (from memory), FP4, Ilfosol." A superb portrait. That 150mm Bronica lens really is an exceptional performer.

For the 6th. Kiev 88CM : 50mm CZJ Flektogon f/4 : Kentmere 400 : Spur Acurol-N Three

mjferron said: "Very smooth for Kentmere 400 Rick. Any secrets ?" No, no secrets. The Spur Acurol-N developer tends to minimise grain, while I guess the 120 format subdues it in the final image. I find Kentmere 400 (and most other regular grain 400 ISO films) too grainy for my taste in the 35mm format.

Some from a Kiev 88CM using either a 150mm Kaleinar-3B f/2.8 or a 50mm CZJ Flektogon f/4 lens, as noted. The film was Kentmere 400 developed in Spur Acurol-N Stump ( 50mm) @Wakefields (150mm) Eucalypt (50mm) The UK Shop (150mm) Tawaha (50mm) Umbrella Group (50mm)

For the 3rd. Kiev 88CM: 150mm Kaleinar-3B f/2.8 : Kentmere 400 : Spur Acurol-N Hootenanny

Cameras and lenses noted : Sony A7R : Sony FE 24-240mm f/3.5-6.3 OSS Sony A7R : 200mm Takumar f/5.6 Sony A7R : Sony FE 24-240mm f/3.5-6.3 OSS Sony A7R : Sony FE 24-105mm f/4 G OSS

Some from the Kiev 88CM with a 150mm Kaleinar-3B f/2.8 lens I pictured in the "What camera..." thread. The film was Kentmere 400 developed in Spur Acurol-N. The First Autumn Morning @Wakefields RAV 4 Divine Reclamation

Rather than go to the gym this weekend I decided to run a film through this Kiev 88CM wearing the enormous 150mm Kaleinar-3B f/2.8 lens. This is probably the heaviest lens in my possession and the total outfit is about as much as I can reasonably hand-hold. I'm used to fairly clunky cameras like the Bronica S2a and the Kiev 60, but this outfit takes things to a whole new level of clunkiness. However, with a little effort some reasonable images were captured, and later I'll post some in the current weekly thread.

Some from a Zenza Bronica S2a using either the 200mm Nikkor-P f/4 lens or the 135mm Nikkor-Q f/3.5 lens, as noted. The film was Ilford HP5 Plus developed in Spur Acurol-N. The Last Summer Morning (135mm) Old Wood (200mm) The Corner Post (200mm) Tyresome (200mm) Sunbeam (135mm) Summer Grass (200mm)

For the 28th. Zenza Bronica S2a : 135mm Nikkor-Q f/3.5 : Ilford HP5 Plus: Spur Acurol-N Still Standing