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petapixel (unofficial)Jan 5, 2022

How the Nikon F Revolutionized Photography 60 Years Ago

As an art form and a technology, photography’s youth is only matched by its blisteringly rapid advancement. This creates something of a paradox for us as enthusiasts and professionals, where the history of the medium we so love can feel both short and overstuffed. Neither condition is conducive to any one camera gaining, let alone maintaining, a sense of permanence or constancy. It can be easy to take for granted just how difficult it is for any camera to, well, be taken for granted. Yet here sits the Nikon F, over six decades since the initial release, as capable as ever, timeless like few others, and arguably the most important SLR in history.

It is remarkable, really, if you think about it. After all, Nikon did not invent the single-lens reflex camera with the F; in terms of next-level innovation, it holds no serious claim in any one area. So how? How did the Nikon F become the fixture, the staple, it is today? Was it merely a matter of good luck and savvy marketing, or was there something more? Let’s turn the clock back to before the camera’s March 1959 release.

Japan's Foray Into Cameras

A technician at Nippon Kogaku factory at Ohi (Tokyo) on January 5, 1952 | Photo AP Bob Schutz

The Second World War was the fulcrum for all manner of technological advancement, and (as many of our history articles here at PetaPixel make clear) photography was no exception. This particular story is not one of military-fueled acceleration, however, but one of a war-battered crawl. In 1946, Japan was in ruin. The nation’s coffers were bare, and the United States’ decision to deploy the most horrendous weapon yet conceived by man against it -- stripping two of its proudest cities from existence in a flash -- threatened to leave Japan’s spirit as broken as its economy. Japan needed more than healing. It needed resurrection.

The government acted decisively through numerous government initiatives meant to supercharge the production of goods the world wanted, at a time when their national reputation was at its nadir. These initiatives were first targeted at companies that had succeeded as wartime manufacturers, including Nippon Kogaku K.K., the company that would eventually come to be known as Nikon.

Nippon Kogaku was perhaps the most ideal company the Japanese government could have boosted, given the circumstances. There was no better way to convince a leery world of the necessity of Japan’s exports than by providing products almost indistinguishable from their European rivals -- except as good or even better and, most importantly, cheaper. Nippon Kogaku's greatest skill was creating cameras like the Nikon S-series rangefinders: hybrid clones of the Contax and Leica M rangefinders, but with some improvements, including being arguably faster and certainly less expensive. Still, in a bitter sort of irony, it would take another war before the company truly began earning the respect it deserved.

The Nikon S-2, which combined elements from the Contax IIa and Leica M3

In 1950, the Korean War began, sending photographers from across the world into East Asia. There, they found not only images of brutality, but impressive Japanese glass for their cameras. One such photographer was the prolific David Douglas Duncan, who found himself on assignment covering the conflict alongside Jun Miki for LIFE magazine. Miki requested Duncan take his photograph using his Nikkor lens. Duncan was so immediately impressed with the lens’s quality he sought a personal introduction to the manufacturer and subsequently secured Nikkor glass for every one of his Leica cameras. His photo-essay, “This is War!” is widely regarded as one of the most important and influential of all time for obvious socio-political reasons, but it contains one subtler, more undervalued impact: every shot was taken through a Nikon lens.

Nikkor-H.C. 5cm (50mm) f/2 Lens for Leica Thread Mount (LTM) Cameras | Nikon Imaging

Nippon Kogaku had succeeded in the mission the country so needed. Its cameras and lenses were legitimized more on the world stage with each passing day. Adoption increased among the professional class. The company’s name showed up in print more frequently. It was not alone among Japanese companies in this climb -- Canon, Chiyoda Kogaku (Minolta), Tanaka Kogaku, Nicca, and others were also making Leica M39 and Contax RF glass along with their own Leica and Contax-copy rangefinder bodies.

The same country so devastated by one war had been reinvigorated in no small part thanks to another. The Korean War had turned Japan’s occupiers into its greatest allies, and, crucially, consumers. “The same product, only better and cheaper” philosophy had worked, and now it was time for Japan, and Nippon Kogaku, to build something new.

The Rise of the SLR

One need not invent in order to innovate. Nippon Kogaku -- whose “copycat” S-line of rangefinders were slowly gaining traction across the market -- knew this better than most. To chart a new path and transform the company from the one chasing and improving the work of others into one others chased, Nippon Kogaku looked to an old idea that no one had yet gotten quite right: the single-lens reflex camera, more commonly referred to as the SLR.

Ihagee Kine Exakta Type 3 with Waist-Level Finder, Built in 1938 | Creative Commons

One could trace the history of the SLR to the seventeenth century, to the use of a reflex mirror in a camera obscura, or to the late nineteenth century when the first SLR patent was granted. The release of the Kine Exakta in 1936, produced by Ihagee Kamerawerk in Germany, was the first SLR on the market. Behind the Exakta bayonet lens mount was the mirror box and shutter mechanism. The waist-level viewfinder was fixed, projecting a laterally reversed image -- moving to the “left” of your viewfinder’s image meant you had to physically turn the camera right. This was not unusual -- all medium format TLR (twin lens reflex) bodies before and after the Exakta operated in the same way, as did virtually any camera with a waist-level finder.

All of this hardly matters given that even twenty years after the introduction of the Kine Exakta, the SLR remained more conceptually intriguing than practically enticing. The trouble with SLRs of the time was numerous -- they were mechanically complex with many finicky components, and they were physically larger and heavier with a much more limited lens selection. Prices were hardly competitive, too. However, they still had a major advantage over the popular rangefinders of the day: what you saw through the viewfinder of an SLR was an accurate representation of your frame, no matter the focal length or focus distance, though this was somewhat undercut in practical application by the fact that you were seeing the image laterally reversed.

No SLR had yet been built that could truly overtake the rangefinder, so Nippon Kogaku saw the opportunity to move beyond competing in an established market and begin leading in an emerging one.

Nikon Develops its First SLR: the Nikon F

In the autumn of 1956, development began on Nikon’s first SLR camera, the Nikon F. While the project was overseen by Masahiko Fuketa, the company’s head engineer, a bold step like this required an even bolder perspective. No one doubted Fuketa’s ability -- he had overseen design on every camera the company had yet produced -- but this task called for a radical, outside vision. The company did not need to look far.

Portrait of Yusaku Kamekura | Photographer Unknown

Yusaku Kamekura was a graphic designer who had worked for Nippon Kogaku in the past, and his eye for branding and marketability brought a perspective vital to the company’s lofty goals. The value the company placed on this project was so immense, in fact, that the process was kept almost totally secret from not only the outside world but the company’s own executives. Fuketa and Kamekura found themselves virtually isolated, crammed into a tiny room within the factory, designing the future.

While the clandestine nature of the Nikon F’s development was no doubt guided first and foremost by a desire to guard corporate interests, it provided Kamekura unprecedented freedom of expression. There was no naysaying. No second-guessing. There was only Kamekura’s aesthetic prowess fused with Fuketa’s technical wizardry, chained together, finding their way to the perfect marriage of their genius. Kamekura decided early on to focus on a bold design featuring clean, straight lines. The concept was stunning. He envisioned the SLR, known for such numerous complications, as something beautifully simple, sleek, sharp, and, most crucially, modern.

Mechanically, Fuketa was on the same page, but practical realities stood in the way. He shared prototypes with Kamekura, outlining the development on the technical side, but Kamekura was not satisfied. While Fuketa was making great strides in simplifying the most onerous features of the SLR, in order to give the camera the components required to function, the cleanliness of the design would have to suffer. Of particular frustration were the elements protruding from the top of the camera, which disrupted the elegant lines Kamekura envisioned. Then, with a burst of inspiration no doubt spurred by the technical knowledge Fuketa instilled in him, the answer to Kamekura’s exterior obstacles became clear: the pentaprism.

The pentaprism had been one of the most monumental leaps forward in the race to produce a wide-use, popular SLR camera. All reflex cameras use a mirror placed at 45 degrees behind the lens, which projects the lens image onto a ground-glass screen viewed perpendicularly to the optical axis of the lens. Until the pentaprism, this projected a reversed image in the viewfinder -- most of which were waist-level -- limiting the comfort and usability of the camera. By internally reflecting the image multiple times, the viewfinder could finally work at a comfortable eye level and produce an image that was both vertically and laterally correct. The photographer could see the scene as it was before them -- left was left, right was right, up was up… you get it.

Nikon did not invent this technology, nor was it the first to make use of it. Several others, notably Italy's Rectaflex and Germany's Contax S, had already begun implementing the pentaprism in their SLR cameras -- both beating the Nikon F to market. So Kamekura’s inspiration was not one of invention, but rather of incorporation -- why not design the top of the camera to feature a housing for the elements that disrupted the pure lines he envisioned, and why not give that housing the signature shape of this remarkable advancement? Why not model the housing after the pentaprism itself?

In every way, this idea was a success. The aesthetic concerns were not only alleviated but a marketing signature was born. It was brilliant. Of course, the pentaprism was not the simplest shape to manufacture at the time. Time and time again, machining the piece was a failure. It would emerge with holes, inconsistent, broken, misshapen. Fuketa pressed Kamekura to consider an alteration: cut the intersection point at the top, leave an open hole. Then, the pieces could be fused from rectangular elements. Kamekura refused to back down. He was no prima donna, and he deeply respected the need for a design to be functional and reproducible, but this shape was too integral to give up on. After multiple trials, the problem was solved -- the Nikon F’s design was locked and flawless.

Mechanically, Fuketa had his own dragons to slay. Under his passionate leadership, his team conceived of a host of new features, each one chipping away at the gap between rangefinder and SLR even more. By the time they were done, the Nikon F boasted a set of true advancements, including a new instant mirror return mechanism, interchangeable viewfinders and focusing screens, and an impressive auto-diaphragm stop-down mechanism for open-aperture focusing and depth of field preview. Fuketa’s craftsmanship had paired with Kamekura’s artistry to create more than a great camera. They had created a camera with the potential to upend the entire market.

Lasting Impact

No matter how impressive this camera may have been, the goals of Nippon Kogaku, and those of Japan itself, were still extremely high, and extremely personal. Making a splash is one thing, but Japan had fought its way back from utter ruin to become a true world power with one of the fastest-growing economies on earth, a more liberal society, and a partner to the same Western democracies that they had had so bitterly fought against. Japan had shown the world it could rebuild more successfully and efficiently than anyone had imagined. It had shown the world it could innovate. What it needed to show now was that it could dominate. Nippon Kogaku's products had to do more than excite, more than even advance. It had to be trusted. It had to last.

The company met this challenge through two key steps. The first was through some of the most aggressive and exhaustive testing and benchmarking any camera had ever seen. Could the camera survive an earthquake? A lightning strike? The arctic cold? How many shutter actuations before it failed? 25,000? 50,000? No, it had to be 100,000. Through challenge after challenge, the team exhausted themselves to provide Kamekura’s elegance and Fuketa’s ingenuity another ingredient they deserved: reliability. And they succeeded.

The Birth of a Camera System

The final step Nippon Kogaku took to ensure the staying power of the Nikon F was to make it more than a single, bold new camera: it made it a bold new camera system. An entire set of new lenses designed to work with the fresh new mount and the auto-aperture system were devised. In the face of this heretofore unheard-of level of interchangeability, the rangefinder was sure to be toast.

Gone would be the days of matching lenses to the camera’s frame lines or the need for external viewfinders for wide lenses. Gone were the days of inaccurate framing, parallax compensation issues, or lengthy minimum focus distances. Previewing depth of field in the viewfinder? No problem. The ability to use zoom lenses? Not an issue. Accurately frame and focus wide open at 135mm, 200mm, or even longer? Sure.

In 1959, the F made its first appearance on the world stage and the response was immediate. Nippon Kogaku had done it. This was a marvel, a game-changer, a breakthrough, a landmark. It was revolutionary. We hear these types of words bandied about every day on photography sites and forums and comment sections, and we get excited, but it makes it difficult to truly comprehend the totality of what a truly revolutionary product is.

Most often, it is not the brand new thing, but the thing that does the brand new thing so well we forget the brand new thing was ever brand new at all. That was the Nikon F. It is the camera that first saw the top of Everest. It was the first 35mm camera to go to the Moon and come aboard NASA’s Skylab. It was the first SLR to see common (and very popular) use in war.

Revolutionary and Timeless

07 Apr 1968, Khe Sanh, Vietnam, "Cameras on Tree in Khe Sanh During Vietnam War" | Image by © Christian Simonpietri/Sygma/Corbis, Creative Commons

Born of the pain of the past, the competence of the present, and the desperate need for a secure future, there is no wonder it is timeless. A country decimated to ruin by western adversaries pulled themselves out of the rubble, rebuilt as no one had seen, and set its sights on global economic conquest. And they succeeded.

While the SLR is almost certain to go the way of the dodo due to the emergence of the latest technology -- digital mirrorless -- the Nikon F will forever remain a timeless piece of history that molded the history of the photographic world.

_Image credits: Header photo by Dnalor 01, Creative Commons. _

#educational #features #technology #35mm #35mmfilm #35mmfilmcamera #ashaipentax #canon #contax #contaxs #film #filmslr #history #leica #leicam #leicam3 #leicamrangefinder #leicarangefinder #nikkor #nikon #nikonf #nikonf2 #nipponkogaku #pentaprism #pentax #rangefinder #rectaflex #slr #slrcamera #zeiss

petapixel (unofficial)Apr 19, 2021

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