The 10 Hottest 35mm Cameras You Could Buy in 1991

1991. What a great time to be alive. Seeing movies like Robin Hood and Hook in the theatres, and hearing hits like "Joyride" by Roxette or "Losing My Religion" by REM are some of my favorite pop culture memories of that time. Not to mention watching TV shows like Home Improvement , America’s Funniest Home Videos , and The Fresh Prince of Bel-Air.

Of course, being eleven years old, my photography experience was limited to disposable cameras, but that might not be the case for you. If you were older or luckier, you might have had one of these classic or innovative cameras I’ll be talking about today.

Today I’m going to go over the top ten hottest 35mm cameras you could buy in 1991.

A couple of things I want to mention about this list before I get started.

I constructed the list with a few parameters in mind. First, I used Popular Photography ’s Top Cameras for 1991 as the base for it. Next, I boiled the list down from twenty to ten, by selecting the ones still most relevant today. The higher number of Google results, the higher it appears on the list.

Read also : 10 of the Hottest 35mm Cameras You Could Buy in 1982

In this golden age of photography, which in my opinion was 1975 to 1995, many of the cameras released had a very long shelf life. Because of that, if I include the older models, my top ten list could have several of the same entries, even if I jump ahead nine years. So for that reason, I have put a cap on cameras to be no older than seven years from the year featured.

That brings me to the last bit, which is this isn’t a list of cameras released in 1991, rather it is a list of the hottest cameras you could buy in 1991. As I mentioned, some of these entries had been out for a few years by 1991.

With all that being said, let’s get started.

#10. Yashica 230 AF

The first camera on today’s list may be a bit of an unknown these days: the Yashica 230 AF. An early auto-exposure camera, with three modes plus manual. The 230 AF was announced in 1986 but immediately caused some controversy, as mentioned in an article by Norman Goldberg, released by Popular Photography in November 1986.

“Yashica created a stir when the company was forced to withdraw its newest entry in the autofocusing fray. Called the 230 AF, the camera quickly became the subject of a patent dispute, but not before several German-language photo magazines came out with the details on the camera. To satisfy the affronted party – perhaps Minolta – the camera was displayed in a locked showcase. Word is that the matter will be resolved soon.”

Despite the early controversy, the 230 AF made its debut in 1987. One of the more interesting features was the CS-110AF flash accessory, which fit over the hot shoe and pentaprism to give a seamless appearance, it almost makes it look like another camera.

Picking up one of these in 1991 with the flash and a 50mm f/1.8 would cost you $765, or $1,536 today. There are not many found on eBay but if you want one of your own you can expect to get one for under $100

#9. Olympus IS-1

At number nine is the Olympus IS-1. A very strange-looking camera. Even stranger at the time because cameras like this marked the birth of the bridge model. A camera that included many of the manual and auto exposure modes of an SLR, but with a fixed lens like a point and shoot.

Because it didn’t fit into an already established category of camera, Olympus dared to make their own, calling it a ZLR, or Zoom Lens Reflex. This was absolutely a marketing gimmick, but it seemed to work. The IS-1 garnered a fair amount of attention.

In December 1990, Mike Stensvold conducted a thorough review in Petersen’s Photographic on the IS-1 and concluded that “The Olympus IS-1 comes closer than most to truly being a 'camera for everybody.' In point and shoot mode, it’s as simple to use as any camera in its class. It offers versatility to the more creative snap shooter and it's got some advanced features found in few other such cameras, making it useful to more serious photographers, as well.”

Olympus’s goal was centered around the idea that this was a new concept camera and the wave of the future. This three-page ad, published in November 1990 encompasses that notion by posing the question: “Remember the first time you received a fax, talked on a cellular phone or heard a CD”?

In 1991 you could expect to pay $800, or $1,600 in today’s money. If you want to buy one used on eBay they are cheap as chips.

I actually did a very detailed history on this camera recently on an episode of my show This Old Camera , in case you want to learn everything there is to know about the Olympus IS-1.

#8. Nikon N8008

Coming in at number eight is the Nikon N8008, funny how that worked out. A consumer-level autofocus SLR with some impressive features for its time including a 1/8000th shutter speed and a flash sync speed of 1/250.

While many camera manufacturers of the time were abandoning their lens mounts from the days of manual focus SLRs, Nikon was staying true to their user base by creating a new autofocus system that could still take older manual focus lenses with a fair amount of compatibility.

Peter Burian conducted a field test and wrote about it in the Winter 1989 issue of Outdoor and & Travel Photography magazine.

“Though the N8008 is clearly an advanced and sophisticated piece of high-tech engineering, it is exceedingly user-friendly,” says Burian. “I predict that any photographer who can operate a digital watch or VCR will be familiar with the N8008 and its use within 30 minutes.”

Peter also says it handles like a dream but had a couple of hang-ups about its operation. He noted that although the N8008 is capable of continuous autofocus, he nailed more sharp images with the standard AF.

The advertising campaign for the N8008 bore the title: “The difficult is does automatically. The impossible takes a few more seconds.”

Here are a couple of examples from 1989.

This one with the ballerina touches on the matrix metering system, and rear curtain fill flash. “The point is,” says the ad, “highly creative pictures that used to be difficult to impossible for anyone less than a professional photographer are now within your grasp.”

The other ad sings a similar tune stating “Ordinary exposure control systems could be fooled by the dark black sky and overexpose the lighted skyline.”

A brand new N8008 with a 50mm f/1.4 would cost you $960 1991 dollars, or $1,928 today. This camera is an unsung hero in today’s film photography community and comes in at an incredibly low price of $70 or less with shipping, body only.

#7. Contax RTS III

At number seven is the Contax RTS III. In a time when autofocus was quickly becoming King, the people at Kyocera decided to make a more streamlined, more sophisticated manual focus SLR. The first thing that people will notice is that the RTS III uses Zeiss glass, known for its build quality and sharpness. But the thing that reviewers and adverting talked about the most was a feature called RTV, or Real Time Vacuum.

In a user report, published by Petersen’s Photographic in 1991 and written by Bill Hurter, it’s explained that the RTV system is engaged when the shutter fires, and sort of sucks the film back onto the pressure plate, creating a flatter image, thus creating a sharper image.

“Roll film in cassettes was a great breakthrough, but one of its problems has always been that film curls,” says Hurter. “It curls because it is rolled into a cassette. Also temperature and humidity affect the degree of curl. Contax engineers have shown film-plane flatness error to exist in current state-of-the-art SLRs to a degree of 20-30 microns in extreme cases. Further, the contention is that a 10 micron error in film plane flatness would cause a rear focus displacement of approximately 1 cm in an image shot at a distance of 3 meters with a Zeiss 85mm f/1.4.”

Basically, you don’t buy a Contax RTS III for quick focus, but superior focus.

A 1992 ad titled “See through the eyes of a genius” gives the reader a visual of what the RTV does to film flatness and showcases the Zeiss glass.

The price on an RTS III with a 50mm f/1.4 would set you back $3,630 in 1991, or about $7,300 today -- a steep investment for a manual focus camera in a progressively autofocus world, but still not the most expensive manual focus camera on today’s list.

#6. Minolta Maxxum 9000

Number six is the Minolta Maxxum 9000. In January 1985, Minolta changed photography forever with the Maxxum 7000, and ten months later we were introduced to the 9000. While the 7000 was a model meant for the broadest audience possible, the 9000 geared itself toward the more serious amateur and professional.

In May 1986, Modern Photography had a very extensive look at the Maxxum 9000. Seeing how it compared to the 7000, which they noted that “Indeed its designers not only responded to virtually every criticism we made of the original 7000, they have also created one of the most sophisticated, comprehensive, internally complex and startlingly original SLR systems the world has ever seen.”

Popular Photography did their own field test in September 1986, praising the camera. But even when incredibly innovative, a camera is rarely perceived as perfect, and the Maxxum 9000 is no exception. Writer Bob Schwalberg had a few complaints for sure, including the average/spot metering setting didn’t have a lock on it, so a sleeve, or a strap or whatever would often change metering modes without him realizing it. Also the lack of lens selection.

“Almost two years after the launching of the Maxxum autofocusing camera system, Minolta’s AF lineup is heavy on zooms, but short on meat and potatoes workaday optics.”

At the time of review, they have nothing wider than 24mm, no 35mm, and not a single zoom in the 50-135mm range.

Advertising claimed the Minolta Maxxum 9000 to be "The World’s Most Sophisticated Camera” and encouraged you to “Ascend to the height of professionalism.” It seems in this ad, released in 1989, one of Bob’s issues was resolved, as I’m seeing a 16mm prime and a 35mm to what I presume to be 105mm lens.

With a 50mm f/1.7, a Maxxum 9000 would set you back $974 in 1991, or about $1,950 today.

#5. Leica R6

The Leica R6 comes in at number five. While many cameras take a leap forward from one version to the next, Leica actually took a step back, as quoted in a review by Jack Neubart in the fall 1990 issue of Outdoor and Travel Photography Magazine.

“Unlike the R5, the Leica R6 is principally mechanically governed. The R5 comes complete with several auto exposure modes, plus manual; but the R6 has only manual exposure control, with shutter speeds ranging from 1 second to 1/1000th of a second.”

Another review, in Outdoor Photographer ’s October 1989 issue by Debra Davis sums up the purpose of the camera the best.

“In this day of electronic-laden auto-everything cameras, there is a new product on the market that stands apart from the rest. Welcome to the Leica R6. Designed to appeal to the photographer who wants mostly a mechanical, manual camera, the R6 shuns current trends and offers a back to basics approach to photography.”

This three-page special advertising section titled “The Shot of a Lifetime” features three Leica cameras including the R6. The main photo was taken during a Mount Everest climb with an R6 by photographer Warren Thompson.

“A camera which could be disabled by a failed, inexpensive battery would jeopardize the photographic mission,” says the ad.

The next page claims the R6 can withstand temperatures as low as -4F and as high as 140F.

Something that made me chuckle was this quote on page 2: “If Michelangelo were alive today, he wouldn’t be painting – he’d be using a Leica.”

I guess we’ll never know.

This Leica R6 ad titled: “Seduction” gives a really nice top-down look.

“You’re irresistibly drawn to it – seduced by the beauty, the precision, the mystique of legendary performance. Unlike mere 'cameras,' you don’t just hold a Leica, you caress it and feel the perfect balance, comfortable fit and smooth, positive operation – an extension of your hand, your eye and your art. You’ll be starting an affair with excellence that will last a lifetime whether you choose the manual R6, the electronic R5 or fast handling RE.”

Settle down there Leica.

During my research for other videos, I’ve come across quite a few Leica ads, and I have to say, many are like this one, and there’s a reason that some Leica owners have, shall we say, a superiority complex.

If you wanted to be seduced by this all manual beast, you better take out a second mortgage, because with a 50mm f/1.4 this Everest climber will cost $5,550 in 1991, or… wait for it… $11,147 in 2021 money. These days though, you can get one for a respectable $600 used. That Summilux-R 50mm f/1.4 will still choke your wallet though, at a cost of 1,200-1,800 bucks.

#4. Nikon F4s

Sliding in at number four is the Nikon F4s. I’m always curious to know the differences between models with slightly different names. In my top 35mm cameras of 1982 article, I was wondering what the big deal was between the Nikon F3 and F3HP, and the answer was, basically, the viewfinder.

Here I was again curious what the difference between the Nikon F4 and F4s was and the answer may amuse you: a battery pack. What makes an F4 an F4s is the MB-21 battery grip that takes six AA batteries and that is about it. You get a beefier camera and a slightly higher frames per second burst rate. With the MB-21, you can turn any F4 into an F4s. It’s a little sneaky on Nikon’s part, especially since it got its own advertising campaign.

Here are a couple of examples. The first here says “The Reasons” and brackets the ‘S’ and another example here it brackets the ‘es’ in Lenses. An odd choice. You’ll notice all the ads for the F4s include the battery grip because it has to.

Regardless, the Nikon F4 was a revolution for Nikon. They plunged into autofocus and while everyone else was remounting their cameras, Nikon stayed true to their user base by allowing older manual lenses on their newer autofocus cameras.

#3. Canon EOS-1

Getting the bronze medal for today’s top 10 is the other autofocus revolution flagship, the Canon EOS-1. Announced in 1989, the EOS-1 was not Canon’s first EF mount camera, but the first flagship model. As you can imagine, many FD mount Canon users were very upset that their cameras were antiquated overnight. History speaks for itself though and Canon survived the backlash.

The earliest ad I found was in September 1989’s issue of American Photographer , a colorful three-page ad, that would be one of a theme of ads with the suggestion, to quote “shoot it hot”.

“Live for photography. Eat Sleep and breathe it. Become a photograph.”

“Send the world your message…written in silver.”

I did a full history on the EOS-1 on my segment This Old Camera , in case you’re curious. After I released that video, my Patreon patrons and I were making “Shoot it Hot” jokes for weeks. It’s so incredibly cheesy and so very 90’s.

In September 1992, Camera & Darkroom magazine published: "A Quiet Revolution, A look at the Canon EOS Phenomenon," by Mike Johnston.

Johnston took an in-depth look at Canon as a company, specifically their transition from FD mount to EOS, the controversy, and resulting innovations.

“When Canon introduced the EOS line in 1987, they immediately earned for themselves, among other things, a bad rap of sorts. The reason was the lens mount capability. The introduction of the new line was news; and the reaction from those heavily invested in expensive FD optics was swift, loud- and, to put it mildly, less than pleased.”

He would go on to say “even if you’re not a Canon photographer, it might be wise to keep your eye on them… if only to see which way the winds of change are blowing in the field of 35mm photography.”

A Canon EOS-1 with a 50mm f/1.8 would knock $1,939 out of your 90s Velcro wallet. Or about $3,900 today.

I paid $197 for the copy I have with an EF 28-105mm lens. It wasn’t in the best shape though, so expect to pay a little more.

#2. Leica M6

Obtaining silver for today’s countdown is the Leica M6. Is it any surprise that a Leica made it to the top 3?

A review by Debra Davis in the June 1991 issue of Outdoor Photographer explains the advantage of using a Leica quite well.

“The M6 allows the photographer to know what’s coming into the frame by displaying six distinct frame lines in the viewfinder window. These are projected in pairs corresponding to different focal length lenses for 28mm or 90mm, 35mm or 135mm, and 50mm or 75mm. The correct set automatically appears when you attach a lens and includes an area outside the frame line so you’ll be alert to something moving into the photo. In addition, you may manually select a different set of frame lines just by pressing a lever next to the lens. So without actually changing lenses, you can see and decide quickly, which lens to use for best composition.”

The ability to go unnoticed in a crowd is also touched on.

“The M6 is fast and silent, small and simple,” says Davis.

And here we go again with the melodrama, using the same ad theme as the R6, except this time it’s not Seduction, it’s …Obsession.

“It’s an almost unreasonable dedication to quality – meticulous attraction to detail, flawless mechanical precision, incredibly quick, quiet handling and optics that defy comparison – an obsession with perfection. It’s what sets Leica above mere “cameras” and accounts for their unchallenged reputation and unequaled value.”

If Jesus was alive today, he wouldn’t be a carpenter, he would be making Leicas.

Okay, I made that last part up, but it’s hard not to snicker at the hubris of it all. I will give Leica this, the commitment to only making small changes from model to model is impressive. Even as they transitioned to digital models, the design made very little change. You know that when you buy one, and ever feel like upgrading, you can do so knowing you won’t have a huge learning curve ahead of you.

The M6 might be second on the list, but it’s first in price. With a 50mm f/1.4, you can expect to pay $5,685 in 1991 cash, and just to give you a better idea of how much that is, in 1991, you could buy a used 1987 Dodge Omni for less, at a cost of just under $5,300. With inflation, an M6 was $11,418 in 2021 money. That is, just bonkers in my opinion. Especially when you consider that these days, you pay for the sensor in a high-end digital camera, but back then, everyone was using the same film.

Getting one on eBay is still going to be pricey. Body only is going to be three to four K.

#1. Olympus OM-4T

Coming in with the gold, is a camera you probably didn’t expect, the Olympus OM-4T. Maybe some of you did, as last time I made a list like this on the hottest of 1982, lots of you asked where the Olympus cameras were. The OM-1N came in at eleventh place in case you’re curious.

One of the features of the OM-4T that caught my eye while reading up on it was the ability to multi spot meter, as described in this review by Petersen’s Photographic writer Dan O’Neill in December 1986.

“Multi-spot metering is done by selecting different areas in the scene and metering each one with the press of the spot button. Up to eight spots can be metered and averaged by the OM-4T’s microcomputer.”

The other big deal with the OM-4T is the Full Syncro flash system. Basically, Olympus uses a focal plane shutter and that comes with its limits on how fast you can sync a flash to it. While many other manufacturers worked on a better shutter, Olympus just increased the duration of the flash system to properly gather all that light at quicker speeds. A focal-plane shutter has two curtains. A leading one and a trailing one, and at higher speeds the trailing curtain is already closing before the leading one has completed its cycle, so in the case of flash, you get an incomplete flash exposure.

Long story short, the OM-4T had a max flash sync speed of 1/2000, as promoted in an ad titled: "The first camera ever to break the light barrier." They also called the multi spot meter function, “The most precise built-in meter in camera history.”

So what does the T stand for? According to David Brooks of Petersen’s Photographic , “the use of titanium for the bodies top and bottom plates. This exotic metal provides both lighter weight and greater strength to protect the camera’s internal circuitry to dedicate the new F-280 flash and integrate its special new capabilities into the OTF auto flash exposure control, auto-spot continuous light metering, and exposure automation.”

With a 50mm f/1.8 lens, the OM-4T will set you back $1,330 by 1991 standards, or just under $2,700 by today’s. These days you can expect to pay a respectable three to four hundred body only.

Conclusion

And that concludes today’s list. Thanks for reading and watching, and happy shooting!

About the author : Azriel Knight is a photographer and YouTuber based in Calgary, Alberta, Canada. The opinions expressed in this article are solely those of the author. You can find Knight's photos and videos on his website, Twitter, Instagram, and YouTube.

#educational #equipment #1991 #35mm #azrielknight #blastfromthepast #cameras #historical #history #top10

10 of the Hottest 35mm Cameras You Could Buy in 1982

1982. Michael Jackson releases Thriller , E.T. hits the movie theatres and Cats opens on Broadway. It was a great time to be a fan of movies, music, and theater. But it was also an amazing time to be a photographer -- there were innovations with every release and more around every corner.

In this article, we look at the ten hottest cameras you could buy in 1982.

A couple of things I want to mention about this top 10 before we get started. I constructed this list with a few parameters in mind. First, I used Modern Photography magazine’s “Top Cameras for ‘83” but since all these cameras were available in 1982, and this issue was released in December, I’m calling this list hottest for ’82.

Next, I boiled this list down from thirty cameras to ten, by selecting the ones that were still most relevant today. The higher number of Google results, the higher it appears on the list.

After that, I limited each manufacturer to two spots on the list max. If I hadn’t, there would be four spots by one camera manufacturer, and three by another, making this a pretty boring list.

The final thing to mention is this isn’t a list of cameras released in 1982 as much as it is a list of top-selling cameras of 1982. Some of the choices here had been out for a number of years. This was a time when cameras lasted longer than six months on the shelf.

With all that being said, let’s get started.

10. Minolta CLE

At the number 10 spot is the Minolta CLE. A TTL-metered, aperture-priority 35mm rangefinder with Leica’s M mount for superior lenses and a max shutter speed of 1/1000.

The CLE resembles the Leica CL, and it should, as it was the end result of a signed agreement between Minolta and Leica in 1972 to band together and create the Leica CL. While the Leica CL would be discontinued by this time, the Minolta CLE was released in 1981.

Priced at $784, or $2,218 in 2021 money, the CLE came equipped with a Minolta M-Rokkor 40mm f/2.

This ad released in 1981 explains to the reader: “For many professionals, the classic 35mm rangefinder camera has never been surpassed for quietness, compactness, and fast focusing. To bring all this to today’s most demanding photographers, Minolta has created the remarkable new CLE.”

Minolta brags about their patented aperture priority, auto exposure system that actually measures off the film plane itself, bright viewfinder, 2 stop override, and solid-state self-timer.

Through the Lab Report by Steve Pollock, released by Popular Photography in September 1981, we learn a bit more about the rangefinder, and its limitations.

The camera has outlines for 28mm, 40mm, and 90mm lenses, and a flash sync speed of 1/60. What is also interesting is that the light meter will function on aperture priority, but not manual.

“Two inconvenient alternatives are 1) to make readings on automatic then transfer them manually, or 2) to use a separate handheld meter.”

Regardless of some minor shortcomings, the CLE still sells for as much today on eBay as it did in 1982 at your local Minolta dealer.

9. Pentax LX

At number nine is the Pentax LX. A 35mm SLR with interchangeable viewfinders. It was promoted as a whole interchangeable system. Viewfinders, flashes, grips, screens, and data backs -- there was a lot of customizability with the LX.

Buying one in 1982 came standard with the 50mm f/2, the 50mm f/1.7, or the 50mm f/1.2 lens as well as an FA-1 eye lever viewfinder. This would set you back between $1,085 to $1,212.50 in ’82 money, or about $3,000 to $3,400 today.

Their advertising said, “Sixty Years of research and human engineering have given rise to a remarkable new photographic instrument.”

It promised to “exhilarate you. In your work and in your art.”

Touted are its max shutter speed of 1/2000 and max flash sync of 1/75, plus a stepless light meter that can change during exposure if the light changes.

Described as rugged yet light, the LX has automatic settings but will operate in manual without a battery. One of the things I found interesting was the four strap lugs, two of which can also be used to attach a grip.

While the LX doesn’t sell for three grand today, it still comes in at a respectable $300 to $500.

8. Leica R4

Sliding in at number eight is the Leica R4. An SLR by Leica you ask? Yes. If you’re new to film photography or don’t know that much about Leica, they don’t just produce rangefinders, but also SLRs and even point and shoots.

The R4 comes standard with a 50mm f/2 Summicron-R lens, made right here in Canada, and would set you back $2,175 in 1982 or just over $6,100 in 2021 cash. That is… exceptionally expensive.

The R4 offered aperture and shutter priority, as well as a full program mode.

Modern Photography states that the Leica R4 “is easy to use because of its well-engineered controls and readouts, and smaller, lighter body. And of the R4’s chief attractions remains the superb quality of the Leitz lenses that fit it, distinctive characteristics any photographer would be eager to own.”

A 1981 ad featuring the R4 and a slide projector had this to say about the camera.

“Consider the Leica R4. The Camera that’s so automatic, so responsive, it can do everything, simply. It’s the only camera in the world with two independent light meter systems. You can select either full area (averaging) or selective (spot) metering with a touch of the controls. And you have multi-mode automation working with the two metering systems. Again truly unique.”

A Leica R4 is surprisingly inexpensive these days. The body is just a couple hundred dollars. The lenses are why you buy a Leica though, and a 50mm f/2 SUMMICRON-R will still set you back about $500.

Still, a far cry from six grand.

7. Minolta X-700

At number 7, the Minolta X-700 makes this list to the surprise of few film photography enthusiasts. Alongside the Pentax K1000 it is today still considered one of the best learning tools for beginner photographers while also being a camera that packs enough punch for the most advanced users.

If you wanted an X-700 in 1982, you’d be looking at a $500 investment, or $1,400 by today’s standards, which would include the 50mm f/1.7. If you want one today, you can expect to pay much less, about one to two hundred dollars.

An ad appearing in November 1982 encouraged you to “Take Command of a Whole New Imaging System”. This was Minolta’s new flagship, and their pride showed in their advertising.

“Camera as Robot…at your remote control," the ad read. "You can fire your motor-driven X-700 from more than 60 yards away by infra-red ray. You can fit it with a power winder, nine different focusing screens, choose from nearly fifty lenses. Now grip it, work the shutter, feel the quality. No wonder Minolta has the longest combined camera/lens warranty of any major camera manufacturer. Sense the thrill of owning the new X-700.”

I did a full history of the X-700 on my segment This Old Camera, and I highly recommend checking that out for more information. While this deceptively simple SLR would be in its prime in 1982, it would outlast many other advanced cameras until it was finally discontinued sometime at the turn of the millennia.

6. Leica M4-P

The number six spot belongs to the Leica M4-P, a 35mm rangefinder that was about two years old by ’82 but still made the list. Often paired with the 50mm f/1.4 Summilux or 50mm f/2 Summicron the M4-P featured a mechanically controlled cloth shutter capable of speeds up to 1/1000, viewfinder frame lines that automatically positioned when the correlating lens was mounted, and of course, the bragging rights of owning a Leica.

No light meter for this bad boy, so bring along a handheld or calculate from sunny 16. But what it does have is parallax-free framing for many focal lengths between 28mm and 135mm.

Modern Photography called it remarkably similar to the M3, released in 1954 showing the dedication to consistency.

Adjusting for inflation, buying one with a 50mm f/1.4 would set you back nearly seven thousand dollars, making this the most expensive camera on today’s list.

5. Pentax MX

Squeezing in at number five is the incredibly small but powerful Pentax MX.

I did a first-impressions video of this camera fairly recently and while I loved its small form factor, the light metering system was a strange choice. But I can see why it made the list in 1982. As Modern Photography puts it, “There is no matched-needle. Instead, within the extremely bright and large finder, to the right, is a transparent dial indicating shutter speeds settings. Adjacent to the dial are five light-emitting diodes which turn on with slight pressure on the shutter release.”

If the Pentax K1000 had a little brother, it would be the MX.

By 1982 it was a seasoned camera but still a top camera. This ad from 1978 calls it an “engineering miracle” and encourages you to “Put your money on a winner.”

Another ad from ’79 showcases its versatility by displaying its accessories. Data Backs, screens, compact lenses….mostly, and more.

With the 50mm f/1.7, you’d be looking at $402 1982 dollars, or $1,100 2021 dollars.

4. Nikon FM2

At number four, is the Nikon FM2. Five years after the highly successful Nikon FM in 1977, the FM2 makes its début in 1982.

The FM2 was essentially an all manual version of the FE. It was no slouch though, boasting a meter with an ASA range up to 6400, and a max shutter speed of a blinding, at least at the time, 1/4000 of a second. That max shutter speed would be the center point to a two-page ad released in ’82 titled: “Faster than a Speeding Bullet”, calling the FM2 “The world’s fastest 35mm SLR.”

“To create a shutter light enough yet strong enough to operate at 1/4000, Nikon engineers used ultra-thin titanium, gave it a patented chemical treatment, then etched it with a honeycomb pattern for extra strength and rigidity. This major advance in shutter technology not only makes the FM2 the world’s fastest 35mm SLR; but one that’s more accurate at slower speeds, too.”

The FM2 also had a very quick flash sync speed for its time as well, at 1/200.

Popular Photography said that “In these days of electronic bells and whistles, the Nikon FM2 is a refreshingly mechanical, no-nonsense, professional-grade camera that can take the abuse of everyday use.”

While the FM2 took batteries, this was only to power the light meter.

The FM2 came standard with a 50mm f/1.4 or f/1.8 lens at a reasonable ticket price of $598 or $523 respectively. Or about $1,600 today and while inflation rose over the years it seems that the FM2 stayed at around the same price of $500, if you want to grab a used one online.

3. Canon A-1

Grabbing the bronze medal for today’s list, at number three is the powerhouse that is the Canon A-1.

Even after five years on the market with autofocus systems starting to pop up, the Canon A-1 remained a top choice for amateur and professional photographers.

If you’re a fan of FD lenses, then the A-1 is about as much camera as you can get wrapped into one model. A look at the top panel reveals a multitude of features, like aperture, shutter, program and manual modes, exposure compensation, two self-timer settings, and the ability to create multiple exposures.

This ad here, published in ’78 gives a visual to its exposure modes letting the reader know that “Technology this advanced deserves its own word” That word being Hexa-photo-cybernetic.

For a camera of the late 70s/early 80s, the A-1 was an amazing piece of tech and remains today a top choice for analog shooters.

If you were to buy one in 1982 with 2021 money, you’d be looking at an investment of about $2,100. Today though, you can grab one used for two to three hundred.

I did a history on the Canon A-1 -- be sure and check that out.

2. Canon AE-1 Program

Obtaining silver on today’s top ten is the incredibly overhyped Canon AE-1 Program.

Out of every camera on this list, the AE-1 Program is probably one everyone has heard of. It’s not that the AE-1 and AE-1 Program remains one of the best choices for a 35mm SLR, it’s that they made so many of them. With a price point of $481 in 1982, or $1,360 in 2021, it’s likely the least expensive camera on today’s list. Not at all shocking, this was the top-selling SLR of its kind even a year after production started.

An ad released in the summer of 1981 claims that “Nobody has been able to improve upon the AE-1. Until Now.” Those improvements would include a Program mode, rather than just shutter priority in the original AE-1 and a new viewfinder. Other slight cosmetic improvements as well, and amazingly, a little lighter.

On television in the west as well as the east, it was still heavily promoted as a sports camera due to the shutter priority. Winders, data backs, and flashes were all available for it as well, giving you a complete system.

To say the AE-1 and AE-1 Program had an impact on photography today is an understatement.

1. Nikon F3 HP

Getting the top spot for today’s list, the gold medal, the hottest 35mm film camera you could buy in 1982, and one that is still widely used by film photographers today, is Nikon’s flagship of the time, the Nikon F3. Specifically the F3 HP, or high eyepoint.

According to Modern Photography : “The Nikon F3 High-Eyepoint camera is identical to the regular F3 except that it incorporates the new DE-3 finder system, which allows the user to see the entire finder with his eye as far away as one inch from the finder. This provides far more convenience, especially for eyeglass wearers.”

You may ask how good the Nikon F3 really is, and the answer is good enough for NASA.

This March 1981 Ad says “The New Nikon F3. Performance so extraordinary it was selected to make history aboard the U.S. Space Shuttle.”

“To be selected by NASA for use in space, a camera must meet truly awesome requirements for precision, performance, and reliability. Because Nikon can fulfill those requirements, NASA has chosen Nikon for every manned space mission since Apollo 15, including Skylab and Apollo Soyuz.”

While it doesn’t have as many features as the A-1, it has something the A-1 does not: interchangeable viewfinders, giving this SLR a bunch of versatility. If you’re a waist-level shooter you’re in luck.

Those who still shoot with the F3 today swear by it. Nikon’s flagship didn’t come cheap though, at $1,229 in 1982 money. Or about $3,500 in 2021, when paired with the Nikkor 50mm f/1.4.

I gave my first impressions on the Nikon F3 in one of my videos.

About the author : Azriel Knight is a photographer and YouTuber based in Calgary, Alberta, Canada. The opinions expressed in this article are solely those of the author. You can find Knight's photos and videos on his website, Twitter, Instagram, and YouTube.

Sources : Camerapedia, Popular Photography, Modern Photography, KenRockwell.com, infoplease.com, eBay

#educational #equipment #1982 #35mm #advertising #azrielknight #blastfromthepast #cameras #history

A Look Back at the Olympus IS-1, an Early Bridge Camera

Do you know what ZLR stands for? How about ED, or ESP? And what in the world is Fuzzy Logic? In this article, we'll learn all about the Olympus IS-1, a pivotal model in a whole new category of camera released in the 1990s, and all the strange acronyms that come with it.

The Olympus IS-1, also known as the IS-1000 or L-1000, is what is considered today to be a "bridge" model. That is, not quite an SLR, because the lens is integrated, but not quite a point and shoot, due to its lens quality, slightly larger form factor, and manual features.

At the time, cameras like the IS-1 were called “New Concept”, “all-in-one” and sometimes “bridge”, but all definitions were still left in quotation marks as these names for it were still being fleshed out and decided on. IS stands for Integrated System.

Early Reviews

The earliest mention I could find for the IS-1 was an article written in the Chicago Tribune on September 28th, 1990 by Andy Grundberg titled: “Olympus IS-1 a Hybrid Camera With a Mind of Its Own.”

It was not an entirely favorable review either.

“Now I don't think I'm a certified technophobe,” says Grundberg, “but I had the darnedest time at Olympus' press preview when I went to use the camera.

“Spotting a nearby spread of cheeses, grapes and assorted foodstuffs, I decided to try the camera's macro setting. Actually, there are two, one at the tele range of its 35-to-135-millimeter zoom and one at the wide-angle position. I picked the tele macro setting, closed in on a grape, and tried to fire. No dice.

"Taking pity on me, a nearby Olympus representative explained that the camera was designed not to fire if the picture would be out of focus or ill exposed. Apparently I was out of focusing range-closer than 1.9 feet.”

Grundberg ends his review with “Set to anything other than point-and-shoot mode, the IS-1 seems to have a mind of its own, which I suppose is what camera makers think camera users want. It blinks, it zooms, it sets its own exposures and tells you about them on a big LCD panel. But give it to an old-fashioned photographer without an instruction book and it will soon be confined to dust-catching duty on a shelf in the hall closet.”

Of course, he was just handling a prototype, but not the greatest start for Olympus.

The earliest magazine review I could find on the Olympus IS-1 is brief and alongside the Nikon N6006 and Canon EOS Rebel, written by Herbert Keppler in Popular Photography in November 1990.

Keppler calls the long-awaited, much-rumored IS-1 “incredibly compact” and a move towards the territory of “new concept all-in-one cameras, such as the Chinon Genesis III and Ricoh Mirai."

Much of the review discusses the features. The minimum focusing distance of 23 and 5/8 inches, or 15 and three quarters on Macro, the max shutter speed of 1/2000, and the max flash sync speed of 1/100.

A couple of the more interesting features mentioned was the spot meter for backlit situations, which samples about 1.8% of the image, and the G40 flash unit, which can fire at the same time as the popup flash.

This review of the IS-1 was conducted on a pre-production model as well, and the price was estimated at $500, or about $1,000 in today’s money.

Outdoor Photographer did their first impressions on the Olympus IS-1, titled “New SLR Category.”

“The new IS-1 is an SLR by strict definition,” says Seth Weber, “It doesn’t look like one, however. Outwardly, it more closely resembles the Super Zoom 330 or 300 seeming to borrow from camcorder configurations.”

Weber says it feels nice in the hands, though it may take some getting used to, and mentions the ED glass. Weber says Olympus calls it “extraordinary dispersion” but we’ll hear another definition later.

“Correct exposure in a multitude of difficult lighting situations is handled by a Fuzzy Logic ESP Light Metering System which tries to do its best to second guess your thoughts (if you knew what to think). In short, it draws a distinction between centered subjects and peripheral image areas, and caters to the needs of the center”

Weber calls the IS-1 “A lot of system in a small package.”

Petersen’s Photographic also chimed in on the Olympus IS-1, naming it one of the top 10 hottest cameras for 1991 alongside the likes of the Canon EOS Rebel, and Nikon N6006, claiming the camera “can suit the needs of anyone from point-and-shooter to real photographer.”

“All the elements in the IS-1’s zoom lens are multicoated to reduce flare and improve contrast and it employs a special “extra-low dispersion” glass to reduce chromatic aberration and produce sharper images with better contrast.”

They mention the Fuzzy Logic ESP and learn it stands for “Electro-Sensitive Pattern”, and the IS-1 has a new TTL phase-detection autofocus system which requires a lot less internal movement.

The IS-1 is featured on the December 1990 cover of Petersen’s Photographic and includes a full-length review by Mike Stensvold titled, "Something for Everyone."

You knew right away that he was taking this new category of camera with a grain of salt.

“In this age when a 'revolutionary' new camera is announced virtually every month, one tends to be a bit skeptical about such claims,” says Stensvold, but he does concede that there are unique features to be had here not found in most point and shoot cameras, like a metered manual exposure mode “which enables you to set a desired shutter speed and lens aperture, and thus control the degree of action freezing or blurring in shots of moving subjects as well as the depth of field in shots where that’s important.”

In regards to the unique shape, Stensvold says “it almost forces you to hold the camera in the steadiest way possible (unlike other so called 'bridge' cameras, whose shapes encourage one-handed shooting-(great for macho posturing but not for producing sharp images).” He goes on to say the camera’s controls are well-placed for easy access while shooting.

Praised is the ED glass, which is the second element from the front, and the lens itself, which has a fairly wide max aperture for a point-and-shoot camera.

Also given props is the twin-tube intelligent flash system, with the capability of lighting subjects up to 32.8 feet away at ISO 400, as well as the ability to light subjects up close without overexposing, due to the IVP, or Intelligent Variable-Power system. A flash accessory is also available, the G40 flash unit which pivots and works with the pop-up flash system, rather than on top of it.

Three metering modes are offered with the Olympus IS-1. Standard ESP, which stands for Electro Sensitive Pattern. This mode is automatically employed in programmed AE mode. Center-Weighted average metering, which is utilized in aperture priority and metered manual modes. As well as spot metering, which can be selected in any mode.

The article also goes over all the auto and semi-auto modes both technical and creative. With so many different modes it may get confusing for some users so you can return to the basic point and shoot mode anytime by pressing mode and the plus-minus buttons at the same time. Kind of like a home button on your iPhone.

Part of the reason the camera is able to pack so much into such a compact design is the S-wrap film system. Stensvold says the “camera’s unique s-wrap film system makes for a more compact, better-balanced camera, along with easy auto loading.”

Another reason the form factor is smaller than expected is The M-pattern reflex viewfinder, rather than the standard four pattern SLR pentaprism.

In conclusion, Mike Stensvold claims that “The Olympus IS-1 comes closer than most to truly being a “camera for everybody”. In point and shoot mode, it’s as simple to use as any camera in its class. It offers versatility to the more creative snap shooter and it's got some advanced features found in few other such cameras, making it useful to more serious photographers, as well.”

In this article, the list price is $800 or about $1,671 in 2021 money.

Also chiming in December of that year was Canada’s Photo Life Magazine , summarizing their innovative new models found at that year’s Photokina. The IS-1 was featured at the 1990 trade fair side-by-side with such giants as the Leica R-E, and the Contax RTS III.

“The ergonomic design of the Olympus IS-1 incorporates some impressive features” states Photo Life. “35-135mm power zoom, dual strobe intelligent flash, TTL autofocus, programmed auto exposure, fuzzy logic ESP light metering and fully automatic S-wrap loading system.”

December 1990 was the IS-1’s time to shine as it was also featured as one of Popular Photography ’s top cameras for 1991.

“The polycarbonate body can easily be held in one hand but is better steadied with two,” says Popular Photography. They also inform the reader that the grip is quite comfortable and talk about something they call zoom focal length memory. Something that is “a unique feature that lets you select a favorite zoom setting and then to have the camera’s power zoom automatically stop at this specific focal length.”

Much like the review by Mike Stensvold, a lot of what is mentioned is technical in nature but does end with this consideration.

“Certainly the Olympus IS-1 is a fascinating and capable performer you should consider if its size, convenience, and a moderate choice of focal lengths are what you need and want.”

Starting in 1991, American Photo Contributing Editor Russell Hart gives a small mention to the compact wonder in his article “Photofile” titled “New Concept Coup” stating that “The spacey Olympus IS-1 offers many of the advantages of system SLRs, including reflex viewing and a wide choice of focal lengths.”

The IS-1 gets an honorable mention in February’s issue of Outdoor Photographer alongside other lenses as part of an article called “Prestige Glass” which looks at the more affordable cost of lenses with among other things, ED glass. “Thankfully, with the advent of computerized design and high tech manufacturing processes, the task is no longer as laborious as it once was. Hence, we’re now seeing certain superior telephotos and zooms at affordable prices.”

Petersen’s Photographic published a special bonus section in their February issue, called “How to Buy a Camera” adding the IS-1 as a potential for buyers. They actually called it an SLR “with built-in 35-135mm power zoom lens” which some so far have argued that SLR is a loose definition.

A new at-the-time Canadian magazine would feature a four-page review in their March/April 1991 issue. Photo Digest writer Peter Burian put the IS-1 through its paces with multiple locations like Vancouver Island and Dundurn Castle in Hamilton, Ontario. As well as multiple films including Agfachrome 100, Fujichrome 100, Ektachrome 50 HC and Fujichrome Velvia 50.

Peter begins by stating that point and shoots have outsold SLRs over the previous few years and companies have started adding more and more features.

“This was the evolution leading up to the larger “bridge” camera-so called because it was expected to bridge the gap between compact and SLR. Built around a zoom lens some of these offer extensive automated capabilities and are billed as “all-in-one” cameras. Recently someone coined the phrase “new concept”, a moniker that particularly suits the most versatile addition to this category, the Olympus IS-1”

The zoom lens is praised, with its ED glass and the fact that every element is multi-coated.

“These enhancements prove themselves worthwhile, in terms of outstanding image quality. Some of my slides appear to equal the sharpness of those produced with my professional zoom, which cost more than this entire camera and all accessories,” says Peter. “Even when shooting into the light, contrast was well maintained, thanks to the fine optical coatings used in the lens.”

One of the things that seemed to really impress the reviewer was being able to change the zoom controls to manual focus control. Essentially changing the power zoom control to a power focus control, though he did note you’ll want to sort out your focal length first.

I appreciated that they went into a bit more detail on what exactly Electro Selective Pattern and fuzzy logic meant for your final image.

“It will first consider brightness in the central area of the scene, and then across the entire frame separately,” he says. “This information is then evaluated and compared to 14 individual possibilities (instead of merely two) stored in its memory. In a fraction of a second, subtle corrective action is automatically taken, for accurate metering in a wide range of lighting conditions.”

We also learn in this review that the G40 flash unit has a range of 130 feet at ISO 100.

Overall Photo Digest gave a glowing review of the IS-1 with very few hang-ups and said that anyone frustrated with the limitations of a point-and-shoot who also cannot afford an SLR will be very happy with the hybrid that is the Olympus IS-1.

In a seemingly out-of-place article featuring camcorders in the May 1991 issue of Outdoor Photographer , was a piece called “The New Fuzzy Logic Cameras” and we learn a bit more about the technology and its origins.

“The Fuzzy logic theory was developed by Professor Lofti Zadeh of the University of California at Berkeley in the 1960s,” says writer Frank Hughes. “He used it to describe the difference between the yes-or-no way digital computers think, and the continuously variable way we think.

“Fuzzy logic got its name from the capability it has to make logical decisions, even when the input data is conflicting, or “fuzzy” for standard logic systems.”

We also learn from this article that the Olympus IS-1 is the first 35mm camera to use fuzzy logic in its exposure control circuit.

Early Advertising

Now lets change gears and look at how the camera was advertised.

The earliest ad I could find appeared in the November 1990 issue of Popular Photography. It was a three-page spread that asked their readers, “Remember the first time you received a fax, talked on a cellular phone or heard a CD?”

Now obviously, this question is meant to provoke the idea that the Olympus IS-1 is a state-of-the-art piece of camera tech and not only that but a new and improved version of the SLR. Here is an example of Olympus using the term ZLR to define themselves as something not quite an SLR.

The ad also implies you’ll hold the future in your hands and claims to be the first camera with a built-in lens to include ED glass. Other claims in the ad include a design made to balance in the hand, a lens that can zoom from 35-135mm in one second, and a dual strobe flash.

The telephoto, wide-angle, and macro adapters were also featured with the g40 flash.

Petersen’s Photographic also ran an ad in November including the Olympus IS-1 by Supreme Camera and Video based out of Brooklyn New York.

“Every aspect of the IS-1 is an example of advanced systems integration,” claims the ad.

Capsen Group Inc. also ran several ads in Photo Digest and Photo Life in 1991 and 1992. A January Photo Digest ad called the IS-1, “The New Shape of Photography” “A new Concept” and “The World’s First Integrated System Zoom Lens Reflex.”

The August issue’s ad called the camera “as astonishing as the pictures it takes.”

A December 1991 ad in Photo Life magazine reuses the same language from another ad stating that the camera has a “uniquely ergonomic design that complements today’s active lifestyle.”

The largest ad I came across was one of those multi-page deals you see sometimes that structure themselves like reviews but are labeled “special advertising section” in the top corner.

In “I Did it all with the IS-1”, published by Popular Photography in January 1992, we are immediately informed that Joe’s sick, and our protagonist needs to get to the airport right away and doesn’t even have time to grab his SLR and accessories.

“Thank goodness for the Olympus IS-1. Its smooth, low contoured shape slips easy as pie into the portfolio. Just bring the 28mm and 200mm lenses, the macro kit and some extra film.”

Funny how he didn’t have time to bring the SLR and a couple of lenses but had plenty of time to bring his IS-1 and a couple of adapters.

Throughout the “special ad” the gentleman is met with a slew of different scenarios for the IS-1 to tackle. A disbeliever on the flight, a casual group shot after a business meeting, Aunt Louise’s prized flower, Uncle George’s restored car, a football game, an impromptu modeling shoot, and some creative night photography.

Of course, everything is fabricated and readers will be able to figure that out but the message is clear, the IS-1 is versatile and with just a couple of accessories will perform like an SLR.

Olympus at this time also had an ad campaign both in print and on television titled: Never Miss another O. This wasn’t just for the IS-1 as seen here in this commercial for the Infinity Super Zoom 3000.

Here’s a two-page ad published in June 1991 for the IS-1 featuring a boxer. “Without O, there’d be no boxers, no hope, no glory. There’d be fighters, but no contenders. There’d be no gold metals. And there’d be no Olympus IS-1 to capture all these moments.”

Another boxer-themed one-page ad was published in October. With a very similar message. Another one on the following October seems to just line up the 'O's. and of course, we couldn’t have Christmas without O.

“There’d be no snowflakes. No Eggnog. Nothing to Open. There would be Santa Clause, but he wouldn’t be jolly.” Lucky for Santa, there’s no O in diabetic, I guess?

It’s all kind of strange.

Olympus would use this campaign for several cameras until at least 1994 as far as I can tell.

Speaking of Christmas, the IS-1 would make it to Outdoor Photographer ’s winter guide at the end of 1991, claiming it will “capture all the merry moments.”

It would make Popular Photography ’s top camera list for 1992 and 1993 but quickly replaced with the IS-2 and IS-3 DLX.

Now while there is some conflicting information online as to when the IS-2 was released, I believe it was announced around the same time as the IS-3. In this article, “Proof Sheet”, the IS-2 is being introduced alongside a couple of point-and-shoots. They refer to it as “The middle member of Olympus’s all-in-one Zoom Lens Reflex Family.”

There was a reveal of the IS-3 DLX from the “Spotlight on Photokina” published three months previous where they state that the IS-3 DLX is based on the highly successful IS-1, and to look for another camera from Olympus soon.

It’s anyone’s guess why the IS-3 would be announced first but it seems to me they were trying to pair them together to offer the consumer choice.

At any rate, for its time the IS line was very successful and would continue on with multiple models until the early 2000s.

Field Testing

For my field test, I utilized two Olympus IS-1s. One loaded with Ilford HP5 Plus and the other with good ‘ol Kodak Gold 200.

My field test went pretty well. I was able to utilize a few of the features like fill flash, spot meter, and even the power focus.

Here’s an example of using the spot meter and power focus under this bridge. I had some issues locking focus in the dim light and I knew the contrast in lighting would throw off the light meter.

Here are a couple of examples of using the fill flash. First, this tree with the knitted arms wrapped around was very dark, and it ended up doing a decent job of balancing the light with the background. Same with this truck in the shade.

Let’s talk about some pros and cons.

Pros

Under the Radar

Because this camera is not hip or cool, it’s inexpensive. Looking online you’ll see most go on eBay for under $30 Canadian dollars. If you’re looking to get into film this would offer you everything you need to get started at the cost of two or three rolls of Portra. A decent zoom, a built-in flash, and both automatic and manual modes.

A Great View

The viewfinder on this is surprisingly good. It will indicate when you’ve achieved focus, and when power focus is on. It displays both shutter and aperture settings, as well as if exposure compensation is being used and whether your flash or spot meter is on.

Cons

No ISO Control

As far as I can tell, and I’ve read the manual three times now, there is no way to change the film speed. You can trick the camera by using exposure compensation but that’s about it.

A Hard Load

Film loading is frustrating. I’m not sure if it’s just the two models I have but the canister flips up no matter how carefully I place it. I have to hold the canister down almost until the door is closed and give it a good push to get it to snap shut.

In Summary

Overall it is hard not to recommend the camera at its current price point. It’s unique, inexpensive, and produces images I thought were better than most point and shoots and probably on par with some SLRs. I will say though that the next ten years will probably see a drop in the number of working models. I would imagine these are hard to fix when they fail, and the rubber buttons may start to degrade. I also noticed one of my models had a harder time focusing than the other. So working quality will vary.

While this may not be the very first bridge camera, but just like the model T, it’s the one that defined a genre.

About the author : Azriel Knight is a photographer and YouTuber based in Calgary, Alberta, Canada. The opinions expressed in this article are solely those of the author. You can find Knight's photos and videos on his website, Twitter, Instagram, and YouTube.

#educational #equipment #azrielknight #blastfromthepast #camera #history #olympus #olympusis1 #olympusis1000 #olympusl1000

Kodak Ektar 25, Frozen for Over 30 Years

Can you preserve a 30-year-old roll of color film and shoot it like the day it was purchased? Today I’m going to answer that question as well as give an in-depth history of one of Kodak’s most pivotal films, Ektar 25. I think that some of its history as well the results may surprise you.

Announced in October 1988 at Photokina, along with 17 other color films, Kodak Ektar 25 was introduced with its highly sensitive companion, Ektar 1000.

According to Popular Photography , it was nearly grainless and knocked the eyes out of even the most hardened film testers. Compared to Kodachrome and Ektachrome, Ektar 25 was a high contrast highly saturated C-41 film with not a lot of give. For that reason, the box was labeled, “For SLR Cameras” insinuating you should not put this in a point-and-shoot camera.

Popular Photography elaborated on what makes this a special film in their December 1988 issue.

“Ektar 25 is a slower, simplified, slimmed down version of current Kodacolor Gold 100 print film. By combining the overcoat and UV filter into a single layer, and using a single blue-sensitive emulsion instead of the two conventional, the wizards from Rochester have brought the layer count down from 12 to 9 and reduced the overall thickness by 20 percent.”

Ektar 25 contains five image recording layers: single blue, fast and slow green, and fast and slow red utilizing second-generation T-grain, but as we’ll find out in a bit, not entirely T-grain in structure.

While the film itself was an innovation, the name Ektar was actually borrowed from high-end lenses Kodak produced between the 1930s and 1960s.

Kodak would quickly and boldly claim Ektar 25 to be the world’s sharpest color print film.

Modern Photography magazine would be quick to prove or disprove this claim, and did several comparisons of the film, beginning in January 1989 with a comparison to Kodacolor Gold 100 in 35mm and 120. You heard that right: Ektar was being tested against medium format film for its sharpness. A comparison was also done against Kodachrome 25.

“The new film, which will shortly be available - and only in 35mm format - is intended more for the serious amateur than the pro, according to Kodak. A professional version, which will debut later this year, will feature all of the same fine characteristics,” says Modern Photography.

The article states that to get the most out of the film you should use a super sharp lens, medium to small apertures, plenty of light, and seriously consider a tripod.

The word grainless is tossed around again, and a better explanation of the structure is given: That the green layer is 100% T-grain, the blue layer is a combo of T-grain and cubic and the red layer is total cubic. The cubic grains are combined with T-grain to maintain the film’s sensitivity to light.

In the comparison, there are some color differences, stating the reds are slightly dark, and in terms of sharpness, Ektar 25 is in the same league as medium format Kodacolor Gold stating “Ektar 25 has the edge!”

Not everyone was impressed though. Bob Schwalberg of Popular Photography called Ektar 25 in his commentary “Critical Focus” in February 1989 “less-than-pedestrian”.

“I’m not much impressed,” says Schwalberg. “This slow speed wonder reminds me of the time I explained some new high-speed lens designs to a very famous photographer, who interjected: ‘In other words, they’re making the lenses sharper.” When I agreed that this was so, he then asked: “I wonder why they do this. Do they think that it will reveal more truth?”

Schwalberg goes on to say that 100 speed films should be as low as you need to go, and he’s not willing to pay the cost of Ektar 25, at the sacrifice of two full stops of emulsion speed. What he’s referring to is the 25% higher price tag than Kodak’s other color films, like their Gold line.

Our critical thinker at Popular Photography didn’t completely drag the film through the dirt, though, and leveled his opinion with this during his wrap-up:

“However, if you’re the type of photographer who takes time with light readings; doesn’t mind shooting with a tripod; has top quality lenses, and likes to make enlargements, this is definitely the film for you.”

The idea of a film “For SLR Cameras” seems kind of pretentious, but writer George Schaub gives a more practical reason for Kodak’s statement on the box in the same issue: “Point and shoot cameras usually don’t have DX coding below ISO 100, so using slow film such as this will result in underexposed images”

Schaub called the film “beautiful but slow” showing an example of a street scene where f8 was required for depth of field but could only manage 1/60, showing the blur of the taxis. Now, I’m sure he’s just showcasing that there isn’t much of a choice here, but personally, I want to see the cars moving otherwise they look parked in the middle of the road.

In an article by the editors of Popular Photography , also released in February 1989, they state that the “true beauty of this film is revealed with larger than 11×14 print size.”

In an exposure test, we discover that 2 stops underexposed will make things muddy but if you want to tame contrast you can underexpose by 1/3 of a stop. Going two stops over shows how little latitude the film has and the chart demonstrates highly saturated color and accurate rendition of greys. Also, while it’s close to Kodachrome 25 in terms of sharpness, it doesn’t quite beat it.

In March of 89, Petersen’s Photographic showcased Ektar 25 by using it for their cover photo. Also featured in the issue is an article by Jack and Sue Drafahl titled: "King Kodachrome, Make Way for the Queen."

“Instead of improving a well-established film and making it even better, Kodak introduced a brand-new film. The last time Kodak had an ISO 25 color film was in 1942 – Kodak’s first introduction to the color negative world.”

The review spends some time, talking about the technology, mentioned the color-sensitive layers but also mentions something called DIAR, or Developer Inhibitor Anchimeric Releasing. Which are couplers in the film designed to make the edges of solid colors in the film even sharper, allowing little diffusion from one color to another.

One thing I really liked about this review was the mention of the professional applications of the film.

“Special applications such as photo microscopy, medical photography, and super macro photography can now be raised to new standards through the use of Ektar 25.”

An unexpected disadvantage was the grain. They claimed that making small or medium-sized enlargements was next to impossible because the grain was practically invisible. In this photo example, they ended up having to use the specular highlights to focus for the enlargement. As they put it: “what a thing to have to complain about!”

“This film was designed for advanced amateurs. Ektar is not for point and shoot photographers who are looking for a film to correct their shooting mistakes. Ektar does not have that type of exposure latitude. Besides, many of the point and shoot cameras do not even have DX coding down to ISO 25.”

In May 1989, odern Photography did a feature comparison on Fujicolor Reala and included Ektar 25 in the competition. They did both a studio comparison, as well as one under fluorescent lighting. While the bout was between four films, Reala, Kodacolor Gold 100, Fujicolor Super HRII, and Ektar 25, the conclusion was fixed mainly between Reala and Ektar. In regards to Ekar, they had this to say:

“Frankly, we wondered how it achieves its startling results; it does, after all, use a totally different technology than Reala. Basically, Ektar 25 borrows from its faster stablemate, VR Gold 100, employing DIAR couplers, which are time-released in development, permitting a great deal of color correction in the film.”

They concluded with, “While we expect to see Reala as a 100-speed-only film for some time to come, we’d guess that the market will soon demand a 100 speed Ektar. Just a guess folks; don’t run down to your local store for a roll.”

A good guess indeed, as we would see Ektar 100 by 1992.

Modern Photography also did a test on the latitude of Ektar 25 and concluded useful images from 2 stops under to 3 stops over. A little more forgiving than Popular Photography ’s assessment.

Let’s switch gears for a moment and talk about advertising.

As you may have gathered, the main selling point of Kodak’s Ektar 25 was sharpness, so that was the basis for their advertising campaign. As demonstrated here in the May 1989 issue of Petersen’s Photographic , we are shown a rock climber.

It says “the genius of this shot…” and you turn the page to discover “is that’s it’s a blowup from this shot.” This would be one of a few ads in circulation for their campaign “The Genius is in the Details”

In this campaign, Kodak showed a blown-up portion of the photo, made to look like the total image, and then basically said, gotcha, this is the actual photo.

Here is another rock climber shot,

a football player,

a cowboy,

and a dog in a barn.

The magnification ranged from 2400% to 2900% depending on the ad.

Another ad campaign I came across by Kodak was the tagline “The new photorealism,” which in this first ad shown here, has an actual cut out in the magazine.

That is, there is a triangular-shaped hole in the first page revealing the positive image on the next page.

Kodak again uses the bait and switch, giving you the impression these are real people, and flipping the page reveals it’s part of a wall painting. The ad stated, “Modesty aside, this is the sharpest and finest grain color print film in the world.”

Kodak also held several photo contests for the public in their ad campaigns. As seen here in Petersen’s Photographic and Popular Photography.

In the summer of 1989, Kodak added a 125-speed Ektar to the line and by September Kodak Ektar 25 Professional was introduced. As far as I can tell, the only thing the professional line added was more consistent color from one roll to the next, but they stressed you needed to refrigerate immediately after purchase. “Ektar 25 professional uses the same T-grain and cubic emulsions found in Ektar 25, making it some of the finest color negative film in the world. Because of the critical aging required in the Ektar 25 professional, refrigeration is required until use, allowing consistent results roll to roll.”

It comes as no surprise to any of us that the Ektar line was on the recommended buy list for Christmas 1989 claiming that the “sharpest holiday memories begin right here”

If you told me that 1990 was the golden age of film photography, I would believe you, and to anyone who disagreed, I would show them this poster released with the May 1990 issue of Petersen’s Photographic , which includes 94 films available to consumers.

It’s double-sided and folds out to 16×20. On one entire side is just Kodak films. If this wasn’t the golden age of film photography, it certainly was for Kodak. 41 Kodak films are shown and Ektar’s 25, 25 Pro, 125, and 1000 are shown. But there was another Ektar they were working on under the table and had been toying with ever since the initial release, and in the fall of 1990, Ektar 25 became even sharper, sort of…

In the September 1990 issue of Darkroom Photography , the public is introduced to a medium format version of Kodak Ektar 25 Professional. The opener states that the original 35mm version surpassed Kodachrome 25 in sharpness and fine grain, which is confusing, as other sources said close, but no cigar, like a comparison in February 1992’s Popular Photography which states “While it’s difficult to compare color negatives to positive slides, the amount of detail here is obviously far less than Kodachrome 25”

What some people may have been referring to was that Ektar may have produced a sharper print, as Kodachrome 25 required an inter-negative to be produced, to then make a final print, losing some sharpness along the way.

The article says that Ektar still suffers from a short exposure latitude, and might be even worse. However, the grey scale has improved, compared to earlier batches of the film. So we learn here that Ektar 25 was reformulated at some point in the first two years.

“Ektar 25’s color rendition is its weakest trait, in my judgment. The yellow has been improved since the film’s early days, when it was quite magenta, and now it’s only slightly magenta. Some other colors have also been improved; foliage colors and other shades of green, which originally tended toward the blue, have been brought into line. Ektar 25’s blues continue to be noticeably off in color – a common characteristic of the Kodak Gold films. They veer heavily toward the cyan, and a powder blue sky will somewhat turquoise.”

Also mentioned in the article is the inability to get skin tones right, and that correcting for it will throw everything else slightly off balance.

The article does end on a high note, if not a confusing one stating that “Despite these complaints, I found Ektar 25 to have good overall color.”

In November 1990, Popular Photography Editor Dan Richards reviewed the point and shoot cameras Sigma 35AF and 50AF and in his article Point and Shoot Follies. He talked about how point and shoots are beginning to have DX readings down to ISO 25, and he tests Kodak Ektar with one of these cameras. The same tune is sung here, that you need to also have a sharp lens, and they recommend a tripod, but there is now a place for 25-speed films, like Ektar in point and shoot cameras.

The end of 1990 was a great time to be a photographer. Lots of great cameras, tones of innovation, and Petersen’s Photographic showcased this with their reader’s choice awards. Best 35mm SLR went to the Nikon F4, best medium format went to the Hasselblad 500 c/m, best compact camera was awarded to the Olympus Infinity Zoom 200, and for best color-print film, that award went to Kodak Ektar 25.

“The film is truly extraordinary” states Petersen’s Photographic , “You may find that Ektar is so sharp, it even out resolves some of your favorite lenses!”

Kodak Ektar 25 would be in production until 1997, when it was discontinued, along with its high-speed friend, Ektar 1000. The short-lived 125-speed film would be replaced with a 100 speed in 1991 and is the only surviving Ektar available today. Still, it was that 25-speed wonder that really started it all.

I managed to get a hold of my own roll of Kodak Ektar 25, mailed to me by a generous donor named Al along with a bunch of other films. I was told that this film, which expired in October 1990, was kept cold its entire life, so in theory, I should be able to shoot it at box speed.

Because this film expired in October 1990, and films last a couple of years before they expire, it’s very likely this is one of the first rolls of Kodak Ektar 25 ever produced.

I really like film from this era because of all the little extra details. The inside of the box had little illustrations to help you shoot proper images, a note was slipped into the box, congratulating you on selecting the most advanced color film available from Kodak, and the film canister had its own branding on it.

I really wasn’t sure how well this film would turn out when I shot it. I knew it had been frozen for 30 years, which, let’s be real here, is an incredibly rare thing. Would that be enough though?

The answer is absolutely.

To test the film, I used my Nikon F100 and a 28-105mm lens and went out over the course of a couple of days looking for colorful subject matter. As you’re about to see, the results are nothing short of breathtaking for a 33-year-old color film.

When I scanned these in, I could not believe my eyes. Even though I had taken precautions by overexposing some of my frames, all of what you see here are taken at the proper exposure. No exposure compensation needed. I could not believe it!

I did a test with daylight-balanced lights here in the studio as well and the results speak for themselves. Taken at exposure, I got rich color and beautiful contrast.

Up to 3 stops overexposed, I got flatter, but passable, images.

Underexposed by more than 2 stops, produced unusable images.

Pretty much the same as the tests conducted over 30 years ago.

I think that this really demonstrates the resilience of film. During my time as a photographer, I have used film as old as fifty years and developed mystery film as old as eighty, but that was in black and white, which has a lot more forgiveness. Color film, usually lasts about ten to fifteen years when left at room temperature, if that, and I had shot supposedly frozen color film before with less than stellar results so this roll of Ektar 25 was just astonishing to me, in terms of results.

I’d be surprised to come across another roll like it again. I’m also tempted to take a current roll of something and put it in my freezer and mark it, do not use until 2054.

About the author : Azriel Knight is a photographer and YouTuber based in Calgary, Alberta, Canada. The opinions expressed in this article are solely those of the author. You can find Knight's photos and videos on his website, Twitter, Instagram, and YouTube.

#educational #equipment #analog #azrielknight #blastfromthepast #ektar #film #history #kodak #kodakektar #kodakektar25

A Look Back at the Canon EOS-1, the First Pro EOS Camera

Announced at a press conference in June 1989 in Bar Harbor, Maine, the Canon EOS-1 was a 35mm SLR meant to be a turning point in professional cameras.

Canon did away with traditional controls in favor of a push-button system, utilized ultrasonic motored lenses, and added an LCD display to a fiber-reinforced polycarbonate body. Meant to be a replacement of Canon’s long-time champion, the F1, The EOS-1 was the new flagship, and it took a lot of risks.

The EOS-1 would be among the top picks in photography magazines for 1990, 1991, 1992, and 1993.

In August 1989, Petersen’s Photographic published Canon’s announcement of the EOS-1. Though no price had been revealed at this point, the public knew that it would have five metering modes, a max shutter speed of 1/8000th of a second, a flash sync speed of 1/250th of a second and be able to shoot 2.5 frames per second.

The earliest ad I found was in September 1989’s issue of American Photographer. It's a colorful three-page ad that would be one of a theme of ads with the suggestion: “Shoot it Hot”.

“Live for photography. Eat Sleep and breathe it. Become a photograph.”

“Send the world your message…written in silver.”

The ad says you’ll experience “The swiftest predictive autofocus the world as ever known,” mentions the features like auto-bracketing and the ultra sonic-motored lens system, and promises all this in “a clean, uncluttered form that fits the hand like a glove. So clean, yet so responsive, that if you spend five minutes with the Canon EOS-1, you may well want to spend all your time with it; especially if you’re the kind who aims to shoot it hot.”

The ad ends with the bold statement: “The Image of the New Professional.”

Another ad in the same issue claims that “Never before has the professional photographer had so much control,” and mentions the “unique rear-mounted ‘Quick Control Dial’," which would become a staple with Canon SLRs.

In addition to these ads was a full review by Russel Hart. Hart explains that autofocus SLRs have only been around for five years at this point, if that gives you an indication of the groundbreaking nature of the Canon EOS-1.

The direct competition of the time was the Nikon F4, a well-loved model, with more traditional styling, and as Hart points out, “while virtually any previous Nikkor lens can be used on the F4, none of Canon’s manual focus FD lenses can be mounted on the EOS-1. This makes the camera just as much of a financial leap for pros shooting with Canon’s top-of-the-line F1 or T90 as it will be for newcomers.”

In case you didn’t know, Canon had recently abandoned its FD mount almost overnight. The company introduced the autofocus system through EF lenses, and that meant every lens they made before 1987 was unusable on the new system, and many people were upset. Especially those who had purchased the aforementioned cameras, like the T90, only released three years previously.

Hart admits though that the autofocusing is so quick and quiet, it’s “a little unnerving”

Hart spends a little time talking about how a couple of features were borrowed from the Canon T90, including a sort of hidden door, with more button-activated features inside, but his favorite was the custom functions menu. Eight custom functions in all, like canceling the auto rewind, leaving the film lead out when rewinding, overriding the DX coding, and swapping the functions of the main and quick control dials.

The EOS-1 introduced some new things for photographers as well.

"The camera is the first, in fact, to offer shutter-priority auto exposure in third stop increments, and the weird numbers take some getting used to. It’s a little disorienting to get three-, four-, six-, and eight-tenths of a second of either side of the usual half, and you’ve probably never heard of f/7.1"

Popular Photography ’s Herbert Keppler also chimed in the same month, saying “Watch out Nikon F4, here’s Canon’s answer, a professional EOS-1”

"Unlike the all-metal Nikon F4 with its control dials, rings, and levers, EOS-1 controls are all electronic, and Canon has trimmed its weight by using a single die-cast metal lens mount, mirror box, and film-plane unit bonded to a fiber-reinforced polycarbonate body," says Keppler.

Popular Photography ’s review echoes the same thing about the autofocus, and that it’s faster than any other, giving an example that with a 50mm lens, you can focus from infinity to 18 inches in 1/3 of a second. Keppler also calls the Quick Control Dial a “major innovation for improved camera handling.”

Though the camera was intriguing for Popular Photography , it wasn’t without its faults. The eight custom functions required you to have your manual with you to translate, the lack of compatibility with older lenses was still fresh and hurt people’s wallets, the diminished brightness of the finder information panel compared to that of the EOS 620, especially in bright light and having to use the custom function menu to switch from evaluative to center-weighted metering.

Despite these shortcomings, the camera was considered a success by Popular Photography.

In October 1989, David Brooks of Petersen’s Photographic did a user report on the EOS-1 and tested it in British Columbia.

Other Canon EOS cameras available at this time included the 850, 750, 650, 630, and 620. A price had not been announced for the EOS-1 one as of this review.

The first things that seemed to grab the attention of Brooks were the 100% viewfinder and the quick dial.

The autofocusing system again was one of the EOS-1’s greatest features mentioned.

“In the EOS-1, autofocus has enhanced performance in both speed and sensitivity over the original 620 and 650 EOS models. The new camera utilizes the greater-capacity 12Mhz clock speed microchip main control introduced in the EOS 630, adding a new cross-reference AF sensor so the camera will respond to both vertical and horizontal lines of contrast differences in subjects.

“Combined with the high response speed of the Canon EF design, and with the focus and aperture control drive motors in each lens, plus the virtual instantaneous response of the ultrasonic lenses, the EOS-1 autofocus performance far exceeds traditional manually controlled systems in many important applications.”

I quite enjoyed the review from David Brooks, especially since he went to British Columbia in Canada to test the EOS-1. His review claims that Canon’s EOS-1 created the “highest level of predictable images” and “affords the most secure and comfortable handling I have experienced in a modern 35mm SLR camera.”

David Brooks would revisit the EOS-1 just a couple of months later, in December, with some new lenses including the 85mm f/1.2, a 20-35mm f/2.8, and an 80-200mm f/2.8 -- all L series lenses. He also tested a Speedlite, the 430 EZ.

Much of the review goes over the functionality of the lenses and flash but all ties into the EOS-1 in the end. Brooks states, “Now, with an extended complement of lenses, and the new Speedlite 430 EZ, the EOS-1 can be considered a full-fledged professional camera system, in my judgment. Based on the work done for both my initial report and this one, with considerable shooting experience in between, using a varied selection of lenses, I am thoroughly convinced of the capability of the system.”

Canon would continue with its “Shoot it Hot” ad series, with several variations on the theme in 1989 and 1990. The end of 89 would see ads with random photos, or the camera itself.

Beginning in 1990 though, there were Shoot it Hot ads featuring professional photographers and their photos taken with the EOS-1. Photographers like Walter Iooss Jr., George Lepp, and Lee Page. Each ad included a quote or two from the artist, their photo, the usual advertising jargon, and even the camera settings for the photo at the bottom.

Lee Page says, “To keep your work fresh, you have to get out of the studio sometimes. And the versatility of the EOS 1 and the EOS L Series zoom EF lenses lets me do that.”

George Lepp states: “As a result of the superb optics and technical capacity of the EOS-1, I’m now looking for fast action subjects so difficult I’d have shied away from them before. The responsiveness of EOS-1’s 4.5 fps predictive autofocus provides the most extraordinary opportunities.”

Of course, that frame rate is with the booster grip.

Walter Iooss Jr. says that “EOS-1 is unlike anything I’ve ever used. For me this is the future of 35mm photography.”

By the end of 1991, the “Shoot it Hot” slogan was dropped, in favor of two-page spreads like this one:

They kept using professional photographers to endorse it, though. The ad featuring David Brack is especially telling of the times, as it features an image taken during the Gulf War. “My old equipment kept breaking down. Ever tried to find a camera repair shop in the Al-Hajara Desert?”

Taking all this in, the innovation, the endorsements, and the glowing reviews, you’d think there was no other camera that could even come close to competing. There was one model though, that was already out and had a strong loyal following. That was the Nikon F4, and in May 1990, Petersen’s Photographic published a nine-page feature on these two industry titans. As seen on the cover here it was the main feature of the issue, showing a transparent Canon EOS-1.

Written by the editors, this in-depth beat-by-beat breakdown first goes over the controls of the camera. The Nikon F4 is, for the most part, seen as a traditional styled SLR with tactile controls like the aperture adjustment on the lens, whereas the Canon EOS-1 is seen as more electronic, with buttons, and an aperture controlled from the camera.

Both cameras offer single and continuous autofocusing. Both offer multi-area, center-weighted average, and spot metering modes, but in addition to that, Canon offers a partial metering mode, in which the camera reads 5.8% of the image. While Canon offers auto exposure bracketing out of the box, Nikon’s F4 requires a special back, the MF 23 or MF 24. Each camera offers flash with automatic metering, known as TTL, and shutter speeds of 30 seconds, to 1/8000 of a second. The Canon EOS-1, being electronic in nature, can set exposure in 1/3 stop increments, while the F4 is limited to full stops.

Many of the differences are small, but one that is glaring of course is at the time of publication, there were only 25 EF lenses, and no backwards compatibility pre-1987, and while Nikon only offered 20 autofocus lenses, they had an autofocus teleconverter called the TC-16A which took 32 manual focus lenses. But the F4 also handled a wide array of manual focus lenses on their own, from decades previous.

The review is meant to be evenly balanced rather than taking sides.

"The long-time pro will probably prefer the F4’s more traditional control. Other photographers may prefer the EOS-1’s control dial and buttons. It took our two 20 year plus veteran photographers a little longer to get used to the EOS-1 than the F4, while our 1980’s photographer actually felt at home with the EOS-1 more quickly than the F4."

By the beginning of 1992, Canon’s flagship had a price tag of $1,950, body only. Adjusting for inflation, that’s over $3,500, but still not as much as the Nikon F4s, which carried a hefty price tag of $2,550, or over $4,700 after inflation.

In September 1992, Camera & Darkroom Magazine published "A Quiet Revolution, A look at the Canon EOS Phenomenon" by Mike Johnston.

Johnston took an in-depth look at Canon as a company, specifically their transition from FD mount to EOS, the controversy, and resulting innovations.

“When Canon introduced the EOS line in 1987, they immediately earned for themselves, among other things, a bad rap of sorts. The reason was the lens mount capability. The introduction of the new line was news; and the reaction from those heavily invested in expensive FD optics was swift, loud- and, to put it mildly, less than pleased.”

Johnston also says that what really didn’t make the news was the concept that by Canon accepting, what he calls hard knocks, they were taking a step back in order to take two steps forward.

Much of the article talks about the other aspect of Canon, their Original Equipment Manufacturing, or O.E.M.

"If you own a laser printer, for instance, chances are very good that Canon manufactured the actual laser printing mechanism and sold it to the company that built the whole unit.” Johnston related this back to the development of Ultrasonic motors, and how it wasn’t just for Canon’s lenses, but "The reason they could justify the all-out engineering effort required to make this possible is, you guessed it, O.E.M. Canon wants to become the undisputed leader of ultrasonic technology…"

The article also touches on optics, something Canon is still very well respected for.

"Canon’s gotten the jump on their competition in certain areas, such as the use of aspheric lens elements, which are the most effective means to the designer by which to reduce aberrations in large apertures. Leica for instance has indicated it will not produce another run of its Summilux-M 35mm f/1.4 Aspheric, because Aspherics are just too difficult to manufacture."

Johnston goes on to spend some time talking about the advantages of software and electronics in cameras, as well as the caution of the implications of a camera that can do too much.

"In any event, what is underway at Canon is indeed a revolution, even if it’s a quiet one that’s not making the news every day. What seems indisputable is that the 'EOS concept' is beginning to pay off, and that the dividends are looking more and more enticing to many kinds of photographers. So even if you’re not a Canon photographer, it might be wise to keep your eye on them…if only to see which way the winds of change are blowing in the field of 35mm photography."

If you’re interested in learning more about the canon EOS-1 including a video manual and my personal pros and cons, be sure and check out my video on this camera.

About the author : Azriel Knight is a photographer and YouTuber based in Calgary, Alberta, Canada. The opinions expressed in this article are solely those of the author. You can find Knight's photos and videos on his website, Twitter, Instagram, and YouTube.

#educational #equipment #azrielknight #camerahistory #canon #canoneos1 #eos1 #filmslr #history #slr

Nishika & The N8000: A seedy history of telephone scams, lawsuits and fake parts

#articles #filmcamerareviews #opinion #reviews #azrielknight #kodakportra160 #nishika #nishikan8000