Konica Autoreflex T2

This is a quick review of the Konica Autoreflex T (my variant is the T2). This is a thrift shop find - i paid a bit more than i usually am willing to pay but it looked in so good condition so i ended up buying it.

There are four variations of this camera, all of them look pretty much the same but they are updates of the original T which went out in 1967, one offering hot shoe, the other multiple exposures, the last one having a split microprism etc. The T2 reviewed here is virtually an T with a shutter lock and a redesigned shutter button. Now, don't confuse the T-line with the A-line which is the more economical line with certain features being removed. There is also the original Auto Reflex (two words) which is the firs AE SLR camera and a very different beast altogether - offers also half frame. After the final incarnation, the T3N came the TC-line and others that are very different cameras.

First impressions are mighty good - this is a very heavy camera, very substantially made. Fit and finish is superb, if it was saying "LEICA" on the prism, i would have easily believed it. Winding on the shutter is super smooth - pressing the shutter the camera makes a noise of an artillery cannot - definitely not a discrete camera to lug around. One thing i didn't like is the long distance the button has to travel to take the picture - there is also friction from the spring (that probably needs replacing) and engages the aperture on the lens.

The Konica compared to the Olympus OM-1

Viewfinder is nice, not very bright and no split microprism (the updated T3 offers it) but it shows aperture on the right and the selected shutter on the bottom of the frame.Once you turn the lens aperture to "AE", the camera goes into shutter priority mode, the needle in the viewfinder shows the selected aperture. The light meter is designed to work with the old mercury button cell that is long discontinued so you need to adjust the ISO scale to get the correct exposure with newer batteries. Actually, adjusting the ISO is not ideal, it works well in good light, the brighter or dimmer the scene there is an exposure error depending on the light levels.

Konica's Viewfinder

 Two things to watch out for: First of all battery leaks, this can cause the battery contacts of the cables to corrode and break - no easy way around that - an experienced technician needs to take it apart and this is not an easy task on these cameras - it requires a full disassembly.
Another thing to watch out for is the dreaded 'shutter pre-firing'. Some of these cameras fire the shutter at the end of the cocking cycle - unfortunately my camera suffers from it. From a 36 roll i ended up getting only 29 pictures - the rest were destroyed by it. So unfortunately i ended up returning the camera. The pictures that came out well we beautifully, the Hexanon lenses are beautiful.

Hexanon lenses are really nice pieces of glass

Conclusion:
Fantastic cameras if you find one working well. Due to their age they will need a service but as you can expect spare parts are getting scarce nowadays. Konica lenses are beautiful and relatively cheap. If you find one in good working order, get it, they are beautiful. Watch out for the dreaded shutter pre-firing, expensive to repair and erratic enough to miss it when checking a camera - make sure you buy them with some sort of warranty.

Fujifilm X100f Release Date Canada

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Hasselblad X1d-50c Release Date

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Fujifilm GFX 50s Sync Speed

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Panasonic Lumix DMC-GF5 Recensione

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Leica M10 Review Blog - Release Date

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Leica M10 Release date -  The Leica M10 is a 24 megapixel digital M-system rangefinder electronic camera with a 35mm full-frame (24 x 36mm) CMOS sensor without any optical reduced pass filter. Other vital features of the Leica M10 include an enhanced viewfinder with a magnifying aspect of 0.73 and also a 50% higher eye-point, a broadened level of sensitivity

The Zuiko 35 f/2

The Zuiko 35 f/2

This is a small review of the Zuiko 35 f/2, the black sheep of the Zuiko family. I got this lens relatively cheap as it is in a beaten up cosmetic condition but the glass is in excellent shape and clean so I decided to hand in my hard earned cash and bring it back home with me.

There are a couple more posts I have made about the Zuiko lenses, one can be found here (The Zuiko lenses) and one here (Zuiko Silvernose 50 f/1.4 Vs Zuiko "Made in Japan") - have a look there to see if you find anything interesting regarding this line of lenses.

The Zuiko 35 f/2 has a relatively bad reputation on the internet. It is not that it is a bad lens, it is more the fact that it suffers (according to the reviewers) from artifacts - mostly chromatic aberrations- that are very prominent when you use digital cameras.

The thing with this lens is that it was produced as a lens to use in low light situations. Remember, OM cameras had shutter speeds up to 1/1000 sec (1/2000 in OM-4) - so using this lens wide open in bright conditions was rather unusual. There are people out there who insist in using this lens on their Hi-end 30 Megapixel DSLR and shoot wide open in bright sunshine in order to 'experience the bokeh'. If you are one of those, the chances are that this lens is going to disappoint you. The more I used this lens, the more i came to the conclusion that this lens performs better on film than on digital.

Testing this lens on Digital
I have an OM-to-EOS adapter and i thought i would test this lens against my two very trusted lenses - the Zuiko 50 f/1.4 and the Canon EF 50 f/1.8 to see how it performs.

First of all, the two Zuikos. Here is a picture of the set up.

 

 Here are the results of the center in 100% view

Click for full view

And here are the results regarding the corner.

Click for full view

Overall the Zuiko 50 f/1.4 appears to be sharper between f/2 and f/3.5 but at f/4 the 35 f/2 catches up with it although contrast seems a bit low. Regarding corner resolution, the 50mm is better up until f/5.6 where the 35mm is catching up eventually.

Now, the Zuiko 35mm against the Canon EF 50f/1.8

 

Results for the centre

Click for full view

So this lens performs well on digital, it is quite soft at f/2 but it gets better in the centre by f/2.8 although corners get acceptable by f/5.6. By f/16 diffraction starts kicking in and the picture does not look very nice (see sample picture at the end of the review).

For the bokeh connoisseurs, wide open the pictures look like this. Whatever this means to you...

Click for full view

I prefer this lens on film. On Tri-X, it gives nice pictures even from wide open and by f/5.6 or f/8 it is exceptionally sharp. Here are two pictures.

Taken at f/4 - Click for bigger view

Taken at f/5.6 - Click for bigger view

Conclusion

As I said earlier on, this lens got a lot of bad reputation from people who enjoy using vintage glass on high resolution digital cameras. Wide open there is axial chromatic aberration (halation) which makes this lens unsuitable to use wide open in a bright summer afternoon near the beach. Stop down to f/4 and problem is gone.

Putting irony aside, this lens is a good lens but not an exceptional lens. I think this is the biggest drawback of this lens. People buy it expecting to perform better than it does - possibly the Zuiko 28 f/2 is sharper and this makes this lens automatically a lens to avoid. I disagree with that, although i feel that the Zuiko 28 f/2.8 I had was possibly a sharper lens, the 35f/2 lens is a very good lens that i doubt it will disappoint you. I find the 35mm focal length easier to use than the 28mm and that was decisive factor for me. Bad reputation has kept the price of this lens low (almost half the price of the 28 f/2) - so why don't you buy one and try it yourself.

Samples from digital (for some reason Blogger resizes them to 1600 × 1066 pixels):

At f/2.8 - click for bigger size

At f/4 - click for bigger size

At f/4 - click for bigger size

At f/5.6 - click for bigger size

At f/8 - click for bigger size

At f/16 - click for bigger size

Scratched Vs Unscratched lens

So, i got a Nikkor 28 f/2.8 AIS for £5. What a deal! Well not really - the lens is full of scratches and internal dust. But I imagine, getting a lens for £5 is a good deal anyway. But how does it perform with all these scratches? Is it up to any good? There is one way to find out.

My very unscientific test is thought out like this: I will shoot some pictures with the scratched and destroyed 28 f/2.8 AIS and i will shoot the same ones with the immaculate Nikkor 28-70 and compare the pictures. I developed the film - a FOMA 200 - in Rodinal 1:50 and scan the negatives with an old Canoscan 8600F at 4.800 dpi and see which lens performs better. Of course, a 28 AIS performs much better than the Nikkor Zoom, although the 28-70 is a very well respected zoom lens. I shot four sets of pictures at apertures f/4, /5.6 and f/8.

No unsharp mask or any adjustment done, all settings on the scanner have been set to default. These are the scans straight out of the scanner.

Here are the results:

 This picture is taken on f/4. Here is a detail of this picture.

Now, here is another picture. This one is taken at f/5.6 and the sun is in the background, inside the frame.

And here is a detail from these pictures.

Now, next one is a picture in high contrast. Sorry about the messy background. Both pictures taken at f/5.6

And here are the details.

A few more.
Here is one taken outside with the sun just behind the subject. Any lens would suffer under these conditions. This one is taken at f/8

and here are a detailed scan of them.

Finally, the same newspaper taken in less contrasty environment. Again at f/8

These pictures are exactly the same scan details as the ones above.

 

and a scan from the bottom left corner.

 Conclusion

Nothing that we didn't know already. A scratched lens can still produce more than acceptable pictures. Yes, sure, maybe the unscratched 28 f/2.8 AIS performs much much better but for the price the scratched lenses fetch, it is too difficult to ignore. I don't suggest that you go to that auction site and buy all scratched lenses you can find - but if you come across one, dirty cheap as I did, then maybe it will be wise to buy it. These pictures show that the almost scratched to death 28 AIS performs just as good as the pristine 28-70.
Here are some pictures taken with it.

 

Nikon F5

This is a review for the Nikon F5. I base this review on the 3 films i have shot with it over the last three months.

As it is always the case, if you need a complete overview about the F5, background information and full insight about its numerous functions, visit MIR's excellent website and also have a look at the review by Thom. I will limit my review on my experience of using the camera and i will compare it with it's predecessor - the Nikon F4s - and it's rival; the Canon EOS 1n RT.

Using the camera

Once you pick up the camera, you are surprised by its weight and its build. Metal, metal and some more metal. Despite being a slightly bigger camera than the F4s, the camera is better designed and balances better in my hand. The hand grip is thinner allowing better hold of the camera. All buttons, switches and dials are well designed and weather-sealed.

Of course there are a number of ergonomic hiccups. There are a lot of complaints on the internet regarding a number of major omissions:
a) The impressive backwards compatibility with MF lenses is gone - it was an extra £100 conversion.

b) The F5 is a battery monster

c) No choice to trim the F5 down - you cannot remove the motor drive.

d) No illuminated AF point in the viewfinder - the selected focusing point turns from dark grey to black - useless.

Except all the above - which i thing are all valid points of criticism - there are a number of other things that Nikon should have done better. These involve the lack of a custom settings for leaving the film leader out during rewind (the F5 has 25 custom setting but non that deals with leaving the film leader out), the bizarre concept of not automatically rewinding the film when it reaches the end (what can you do with a fully exposed film inside a camera?) and a couple of buttons that i thing are not placed it where i would like them to be (+- button and the depth preview button).

Once you switch the camera on, the AF is startlingly fast and assertive. In terms of noise, this is a relatively loud camera; not that it gets distracting or anything but i think the F4s is quieter.

The Nikon F5 vs The Nikon F4s Vs Canon EOS-1n RS

So, how does the Nikon F5 compare against the other two cameras? Let's have a look.

* Meter accuracy: Well, in theory, the Nikon F5 wins. But this is more a theoretical question rather than a practical - i still haven't seen a badly exposed picture from the F4s or the EOS.

*Build Quality: All three cameras are build to extremely high standards, it is impossible to say which one will survive a fall from the third floor. My gut instinct says the F4s but i might be wrong.

* Viewfinder: Easy, it is the Nikon F4s. The F5 is very good but does not feel as bright as the F4s. The EOS has probably the worst viewfinder of all cameras i ever had but it has a pellicle mirror.

Nikon Vs Canon AF speed

* Compatibility: Easy - the Nikon F4s again. While both Nikons will mount all F-mount nikkors, the F4s gives matrix metering. It was an £100 extra for the F5. Only EF glass for the EOS.

* AF Speed: Hmm... Possibly the Nikon F5. Having said that, the Canon is probably just as fast. In the 90's there was a shoot out between the two, done by Practical Photography. Have a look on the conclusion. I agree with it. The F4s is very competent though - don't be fooled.

* Size/Weight: Check the picture. The difference between the 3 is minimal. The Nikon F5 is somewhere between the F4 and the EOS. Despite that I find it the easiest to hold.

* Ergonomics: (Highly subjective) Easy, there is nothing that can beat the F4. The other two offer more features and better customization thought.

Conclusion

So is the Nikon F5 my best ever camera? I am not sure. At this camera market - all cameras are expected to perform flawlessly under all conditions. And all the above mentioned camera do it. The F5 addresses many omissions and the newer electronics make it a faster camera. But there are a number of areas where the F5 lags behind its predecessor. Battery consumption and the ability to trim the camera's size down is one of them although i think that the fact that the F4s will offer matrix metering with any vintage glass is a big big plus for me.

There is no doubt that the F5 will surprise you pleasantly with it's flawless performance. If it is AF speed that you need, the F5 is the camera to go for. If you have vintage Nikon glass and want matrix metering, then look no further than the Nikon F4.

Olympus OM-10

This is a review of the Olympus OM-10. The camera came to me via a colleague at work – it belonged to her father in law and was kindly passed on to me once she found out that I use old film cameras.

The Olympus OM-10 has been one of Olympus' most commercially successful models and that is because it was based on a very successful recipe – the OM-10 is a (feature) stripped down OM-2n, a very popular professional model reviewed in this blog. It maintained the small size and compatibility with the Zuiko system, stuck with the aperture priority mode which was so very popular in the early eighties and offered the optional 'Manual Adaptor' that could offer full manual operation. And most importantly, it uses the highly regarded OTF plane metering system of the OM-2n. These features made the OM-10 a very attractive offer, especially if you think that it was competitively priced – Olympus sold these cameras by millions.

Top plate is clean and simple

The size of the camera feels very similar to the OM-2n, but the OM-10 has a slightly raised pentaprism which makes it look (and feel) a bit bigger than the OM-2n. So what does the OM-10 lose when compared to the OM-2n. Quite a few things – you decide if they are important. First of all, the air-bumpers for the mirror are gone, the OM-10 produces much more noise and vibrations. The top plate is made of plastic – not metal as the OM-2n. ISO range is also a bit more limited. The OM-10 has a bit smaller viewfinder coverage – also the OM-2n has a detachable flash hot-shoe. I am not able to say what other changes are made within the camera but these are the differences I managed to spot in terms of specifications. The OM-10 improves the wind-on stroke which feels smaller and more smooth.

Using the OM-10 is easy and straight forward. Switch it on and rotate the switch on the right either on AUTO (aperture priority) or manual in order to set the speeds via the manual adapter. This is one point of criticism. The indication on the dial is very small and easy to miss – you have to pay

attention and make sure that it is is not in manual because there is no indication in the viewfinder as to what mode you are using. In the viewfinder you have the indicated shutter speed – in Auto is the speed used, in 'Manual' it is the suggested speed.

The optional Manual Adapter

One good thing about the OM-10 is that the camera is always ready to take a picture. If set in Auto, it will take the picture even if you haven't switched it to the 'ON' position. Viewfinder is beautiful, big and bright – the OM-10 uses the same pentaprism as its bigger sibling, the OM-2n. Actually, pentaprisms from OM-10 are used to replace the damaged ones from OM-2n.

Time has been good with this camera, the majority of OM-10s out there work well with no major issues. Keep in mind that this is an electronic camera, when the battery is depleted, you very often get a mirror locked in the up position – don't force it to wind it up, just put new batteries in.

Conclusion

You cannot go wrong with buying this camera. There are so many out there which means that they are plenty cheap and you have access to the Zuiko lens line which are beautifully made and cheap. The OM-10 came with the Zuiko 50 f/.18 “Made in Japan” version which is an excellent lens. With the manual adaptor, you basically get 80% of a OM-2n for 1/3 of the price – which is excellent value for money if you ask me. The metering system is first rate and the Zuiko lenses are something to be experienced. With these cameras fetching as little as £15, I cannot see any reason why someone shouldn't have one.

They are small, reliable, with access to a beautiful lens line, it is a winner for me.

Olympus OM-2n

This is a review of the Olympus OM-2n – a camera that I bought locally from a shop that was closing down. It cost me £30 which is usually within the maximum amount of money I am willing to spend on second hand gear but still I consider it to be a bargain of a price for such a wonderful camera.

Before you start reading this review, read my review of the Olympus OM-1n that I have here. For me, the OM-2n is just like an OM-1n with aperture priority exposure mode. If you did like the OM-1, you will like the OM-2n too. Everything that makes the OM-1n a classic camera, is here with the OM-2n too: Excellent build quality, small size, big and bright viewfinder, silent and smooth operations and beautiful lenses – everything there to please you. But there are some differences too.

The OM-2n is an electronic camera, no batteries means no camera. Also the light meter on the OM-2n is very sophisticated, in auto-mode and for the shutter speeds between 1sec to 1/45, it reads

The metering pattern on the first curtain

the light directly from the reflection of the film plane, between 1/45 to 1/1000 it measures it from the printed pattern of the first curtain just before exposure. This does not seem to have any impact on the shutter lad time, it feels the same with it's mechanical sibling. In manual mode the meter works just like the OM-1n. Therefore, the OM-2n uses two separate light sensors – the reading you get on the viewfinder is not necessary the same with the one you will get during exposure.

Once you switch the camera to Manual, the camera feels and works just like the old OM-1n. Problems with deteriorating prism foam, unfortunately apply to this camera too, although my sample is not too bad.

Now, something VERYimportant. You need to use the SR44 type of battery with this camera. The cheaper LR44 gives inaccurate meter reading that can vary from ½ to 2 stops (some report even 3 stops). The Duracell A76 cell that came with this camera, gave anything from ½ to 1 stop

Control dials are self-explanatory really

over-exposure. When I put a “fresh” LR44 cell bought from a poundshop (30 batteries for a pound), despite being just take out of the pack, it gave 2 stops over-exposure! When I bought a Duracell SR44 battery, all readings agreed with my Nikon F90x readings. It is spot on. So be careful, even if the LR44 cell gives you accurate readings, it will deteriorate as the voltage drops below 1.5v. Cheap batteries cannot even guarantee 1.5v.

Once I sorted out the meter readings, I loaded a film and started shooting away. As expected, I like this camera a lot. It feels so well made and so smooth that you enjoy using it.

As I said earlier on, this is an electronic camera, this means that if you run out of battery while taking a picture, the mirror might stay in the up position. Turning the switch to the “Reset” position, should be enough to reset the mirror, some people recommend doing that with the shutter speed set to “B”. In both cases, this will mechanically trip the shutter and bring the mirror down. If nothing happens, then.... hmm.. the camera probably needs servicing.

Conclusion:

As I said earlier on, if you like the OM-1, you will like the OM-2n too. They are very similar cameras and using them feels the same too. There are not many things that I can go into depth about, after reading my review of the OM-1, the same things (in terms of using the camera) apply to this one too. It is a pure pleasure looking through the viewfinder, it is impossible to understand how a small camera like this has bigger and brighter viewfinder than the massive Canon EOS-1n RS, it is brilliantly made. Keep an eye open for one of these and get them if they are in good working order, some 40 years later these cameras will benefit from servicing them. The black samples like mine tend to fetch more money in the used market but unless you really need a black version, the silver ones are the way to go (difference in price is considerable).

I do like this camera a lot, may I dare to say – and that is because I am a lazy photographer who loves auto-exposure – that I like the OM-2n even better than it's mechanical sibling!

A true classic – Highly recommended


Update (11/6/2016)

After shooting a couple of films more with this camera, it has raised it's status from “fantastic camera” to “super-fantastic camera”. There are a few things worth mentioning though.

First of all, I removed the top cover from the camera and cleaned the nasty foam from there. It was easier that I thought it will be – the foam used is relatively small and you can pick some of it out with a pair of tweezers. There is a video on Youtube on how to remove the foam on the OM-1, pretty much the same applies for the OM-2n.

As I said in the review of the camera, the OM-2n uses two metering modules, the one that controls the needle in the viewfinder and measures light in the viewfinder and the other that is placed on the bottom of the mirror box and controls exposure. These are completely independent meters. But, if you are shooting in manual mode and you use the meter reading provided in the viewfinder, you will notice that the more you move your eye away from the viewfinder, the more the needle shows a faster shutter speed. That is because light comes in from the viewfinder and increases the exposure readings. So make sure you keep your eye close to the viewfinder in order to get an accurate metering.

In a way, the OM-2n half-addresses the lack of speed/aperture readings in the viewfinder. Still there is no aperture reading in there but in Auto mode you do get an indication of a shutter speed used.

Nikon F80

Compact and well made

Another camera that wasn't on my plans to buy but it was for £20 and I thought that I should go ahead and buy it anyway. It is a well sought after camera for the Nikonians and I thought I could shoot a few films and see how I feel about it.

The F80 came out on the beginning of the digital era, so it probably it did not receive the attention it really deserved although it has become more popular as a model in the second hand market. As with all Nikons of that era, it too suffers from the sticky back syndrome although my sample is not that bad really.

First impressions are really good. Compact and lightweight, fits nicely in my hands. Viewfinder is a bit small and not as crisp as the F90x. The user interface on this camera is excellent. Dials and switches to change into different functions, no more those push and rotate interface of the previous models, well done for having it so well thought out. Another plus with this camera is that you will not

Sticky back has attracted loads of dust

find any unnecessary features such as subject-based programmes and the likes. Another good thing about this camera is that functions are not hidden away a la F65 where you cannot have access to them other than via different shooting modes – with the F80 you can change the metering mode, AF points or drive speed independently of the programme mode you are using.

But all my positive initial impressions where shuttered once I switched the camera on and tried to focus with the AF 28-70 f/3.5-4.5 on. The AF is just slow. Things are a bit better with the AF 50f/1.8 but nothing impressive. Actually, the F4s is just as quick at focusing the 50mm and much faster in focusing the zoom lens. Now, both these lenses are screwdriver lenses, the F80 might be doing better with G type lenses but with the above mentioned ones, this camera is as fast as the Nikon F65. Really disappointed with it. On the positive side, vibrations and noise levels are almost non existing – making this camera one of the most silent cameras I ever used. 

3 Nikons. F4s, F80 and F90x

Nikon F90x Vs Nikon F80

Ok, so let's see how those two cameras compare.

Build Quality: The F90x is a big and heavy camera. Loads of metal in it. The Nikon F80 is just pure plastic.

AF Speed: With the screwdriver lenses that I own, the F90x trashes the F80 in every possible respect. The F80 has selectable AF points though.

Viewfinder: The F90x has a massive, bright and crisp viewfinder. The viewfinder of the F80 does not come anywhere near. The F80 has an advantage though: It can project a grid that aids with composition (accessible via CF)

Light metering: Suburb in both cameras.

User interface: The F80 has a beautiful user interface, has everything you need and nothing you don't. The F90x allows exposure compensation in 1/3 stop. The F80 only in half stops.

Film Drive: F80: 2.5 fps. F90x: 5fps

Size/weight: The F90x is a much bigger and heavier camera.

Noise: The F80 is a silent camera. The F90x sounds like an artillery canon.

Shutter speed Range: F90x: Up to 1/8000 – F80: Up to 1/4000.

Compatibility: F80 if you have modern lenses, F90x if you have older Nikkors

Summary

The F80 is an interesting camera. It represents years of development – eventually Nikon offered a camera with a great set of features, in a compact and well made body. Everything is well thought out in this camera except from the AF which feels slow with older screwdriver lenses.

This camera is quite well sought after in the second hand market and rightly so. But if you don't mind the size and weight of the older F90x then I would say that the F90x represents a better value for money camera.

This of course does not mean that the F80 is not a great little camera – far from it. It has a plethora of features, a compact size and can accept VR lenses. I would say, if the price is right, get one. Me personally, I would stick with the good, old F90x.

Recommended.