Tag Archives: 35

52 Cameras: # 133 — Sears FF35 Motor Drive




Some color correction from the old film — this camera got the other half of the 1997 Fuji 400 roll.
I hope I can fix/remove the weird drips. I like a couple of the images enough to try with swabs and distilled water.
Wisteria in Santa Fe

Wisteria in Santa Fe


Cool stump in the yard.

Cool stump in the yard.


Pizza piñata -- what's not to love?

Pizza piñata — what’s not to love?


My sweetie lurking at the top of the stairs.

My sweetie lurking at the top of the stairs.

This guy decided to shoot with cameras he could get for 99P (under a pound UK) and the Halina Speedy 33 was his first project camera: https://austerityphoto.co.uk/halina-speedy-33-poundland-camera-no-1/

The Owner’s Manual is posted on the Manuals page.

52 Cameras: # 132 — Olympus Infinity Zoom 2000




I did a LOT of color correction on these. The film in the camera in the video is not what I used — that’s a bad roll of Polaroid I use to test film transport, etc. The images are Fuji ISO 400, expired in April of 1997 and it shows. Really grainy and it has a bluish tint almost like expired slide film. I processed this at home (Unicolor C-41 kit) so temperature variation might be part of it. It’s not the camera’s fault.

Cropped pretty far into this so it's extra grainy.  A truck pulled up right when I pressed the shutter.

Cropped pretty far into this so it’s extra grainy. A truck pulled up right when I pressed the shutter.


Another random cat.

Another random cat.


The Koni-Omega.  A project camera taking a picture of a project camera...

The Koni-Omega. A project camera taking a picture of a project camera…


A cool cat scarf M picked up at a pop-up store in Santa Fe.

A cool cat scarf M picked up at a pop-up store in Santa Fe.


Jem is so chill.

Jem is so chill.


Dried up roses.  I got a lot of mileage out of these flowers as a subject.

Dried up roses. I got a lot of mileage out of these flowers as a subject.

52 Cameras: # 131 — Nikon Action Touch




While editing the video, I thought of a way to do exposure compensation. The lens is smaller than the glass covering and well above the CdS sensor. A bit of neutral density filter material over the sensor but not the lens and it’ll over-expose. Over the lens but not the sensor will underexpose. I have some 3-stop from using Instax in pack film Polaroids…

The film is Fuji 200 i got with a camera lot from a Craigslist ad. It was in his garage and I have no idea how old it is. Pretty grainy so I did some noise reduction and minor tone tweaks. Processed and scanned by Gold One Hour Photo in Los Angeles, CA.

Eastern side of the Salton Sea.

Eastern side of the Salton Sea.


There were some other tracks but not many.

There were some other tracks but not many.


Lattice above a picnic table -- now a good 1/2 mile from the sea.

Lattice above a picnic table — now a good 1/2 mile from the sea.


Salton City on the west side of the sea.

Salton City on the west side of the sea.


Looking down the coast from Salton City.

Looking down the coast from Salton City.

52 Cameras: # 130 — Bell & Howell 414PD 8mm Movie Camera




The film in the video was shot last year. We went back to the Salton Sea again this year and I shot with a couple of still cameras I’ll review shortly.

The film page at Spectra Film & Video shows what they currently have. I got two rolls of the Agfachrome 200D with processing before it sold out and it worked well and the processing was really well done.

Spectra’s telecine can seem pricey but after working on two 8mm projectors and an editor just to be able to look at the film, it’s feeling cheaper and cheaper: Shooting video of the projection looks awful. Neither scanner is suited to a reel of film of any size. Kludging a slide duplicator is a possibility but that’s going to take forever to shoot frame by frame.

I have 3 or 4 other cameras, a mix of 8mm and Super-8, plus a bunch of found 16mm reels, so I have to decide whether to: A) farm it out, B) buy something, or C) make something.

A has the advantages that I don’t have even more clutter, I don’t put in a bunch of time, it’s done by professionals, and I only spend the money when I have something. But, it’s expensive.

B is a one-time investment, but it’s time consuming, good telecine gear is also expensive & I don’t want to do conversions for others for it to pay for itself. And more stuff to store.

C is cheaper in money but time consuming to design and make it. A good design could be set it and forget it once it’s built. I love a challenging project but I have several in line ahead of it.

Probably A or C or a mix of A and C. I’ll let you know.

52 Cameras: # 127 — Konica CF35 EF3




Heavy noise reduction on all. I hope some of it is scanner noise rather than grain so I can re-scan at higher resolution on a couple of them.
Atalaya Mountain -- i love the way the light hits the needles.

Atalaya Mountain — i love the way the light hits the needles.


There was a weird dust splat and I did a little color correction on this one.
Looking west across the Rio Grande valley.

Looking west across the Rio Grande valley.


Color correction for the old film.
Blossoms in La Mesilla.

Blossoms in La Mesilla.


Boosted the mid-tones. The noise reduction tends to make things look flat and this could’ve used flash.
Zoe going for the "people water".

Zoe going for the “people water”.

52 Cameras: # 124 — Olympus Infinity Stylus Zoom 140




I did a bit of editing on most of the images. It’s from the film (age=grain and loss of speed) and scanner noise.
I walked around Santa Fe while my car was being serviced.  This chicken was hanging out in a bush by the sidewalk.

I walked around Santa Fe while my car was being serviced. This chicken was hanging out in a bush by the sidewalk.


"Brickface Hope" by James Tyler.

Brickface Hope” by James Tyler.


Window in downtown Santa Fe.

Window in downtown Santa Fe.


Beautiful old Pinzgauer.

Beautiful old Pinzgauer.

52 Cameras: # 123 — Minolta XE-5




Fuji ISO 200 film of unknown vintage. Some grain in low light but not bad for being in someone’s garage. Processed and scanned by The Camera Shop of Santa Fe.

Bulb and writing with the cats' laser pointer.

Bulb and writing with the cats’ laser pointer.


Sleepy Zoe.  Mostly shots of the cats on this roll.  Handheld at f/1.7 at ~ 1/30.

Sleepy Zoe. Mostly shots of the cats on this roll. Handheld at f/1.7 at ~ 1/30.


Goober.  Handheld at f/1.7 & ~1/30.

Goober. Handheld at f/1.7 & ~1/30.


Goober with flash.  F/16 & 1/90 at 3 feet*.

Goober with flash. F/16 & 1/90 at 3 feet*.


* With the old Achiever 115A flash, ISO 200 should be at f/22 at 3 feet but the Rokkor-X PF 50mm f/1.7 only stops down to f/16. Exposure compensation wouldn’t help since the exposure is based on the flash duration and the only correction the camera could do would be to double the shutter speed at -1 exposure compensation (to adjust the exposure down to ISO 100 which is on the flash table at f/16 and 3 feet). A -1 stop ND filter would work but I didn’t have one handy. I got lucky with the film’s exposure latitude (or it’s slower because it’s old) and it’s not overexposed.

F/1.7 = tiny depth of field.  I tried to focus on Trinity as she came towards me.  With the shutter so slow it's hard to tell.

F/1.7 = tiny depth of field. I tried to focus on Trinity as she came towards me. With the shutter so slow it’s hard to tell.


I darkened everything but her eyes.  Lemonade!

I darkened everything but her eyes. Lemonade!


One more of Zoe just because I like it.

One more of Zoe just because I like it.


I turned on the den light & remembered the camera was on the tripod just outside the window.  I thought I'd ruined the shot and stopped the exposure at about 10 minutes.

I turned on the den light & remembered the camera was on the tripod just outside the window. I thought I’d ruined the shot and stopped the exposure at about 10 minutes.