It doesn’t surprise me one bit that the one Canon SLR I like is the most mechanical, most metal one of my bunch. It’s also typical of me to like the simplicity of entry-level gear, which the TLb certainly was upon its 1974 introduction. Its 1/500 sec. top shutter speed is the tell. More expensive cameras go to 1/1000 sec.; top-tier cameras to at least 1/2000 sec.
On earlier TLb outings the 50mm f/1.8 Canon FD S.C. lens that came with it delivered creamy results on consumer color film like Kodak Gold 200, as here:
Not one to mess with success, I loaded more Kodak Gold 200 for this outing. This time, however, I exposed it at EI 100. I like Kodak Gold 200, but sometimes its highly saturated colors are a little much. Exposing at EI 100 softened them beautifully.
Something is wrong with my 50/1.8 lens — when I adjust its aperture, the viewfinder dims or brightens. This doesn’t happen with other FD-mount lenses I own, so the mechanism that keeps this lens wide open for composing is broken. It made for some frustration on this full-sun day, as shooting at f/11 or f/16 made for a dim view. I took to composing at f/1.8 and then setting aperture and shutter speed as I wanted.
You have to set both aperture and shutter speed yourself on the match-needle TLb. Even though I prefer aperture-priority shooting for its ease and speed, I never felt frustrated or hindered setting exposure on the TLb. It does what every good camera does: performed well and got the heck out of my way.
To begin this TLb outing I met my buddy Jim at a cars-and-coffee gathering. I met Jim through writing for Curbside Classic, the site for old parked cars. He lives across town. He brought his little red Miata out for the occasion,
We spent the most time lingering over a lovely blue 1972 Lincoln Continental. Here’s my favorite photo of it, with a Mustang reflected in the paint.
Jim knows his Lincolns: his dad owned a few during Jim’s childhood. Here’s a story of Jim, his dad, and a ’72 Mark IV.
The event was at a dealer of classic cars, and of course they invited us inside to see their inventory. I bumped the camera up to EI 200 to get more depth of field.
The TLb functioned well and was a pleasure to use. Yes, I said it: a pleasure. You might know that I haven’t been a giant fan of Canon SLRs, but this metal, mechanical camera feels and works great.
I shot two rolls with the TLb, finishing up the second roll on some usual subjects around Fishers, where I work. I’m so impressed with how this lens rendered color and bokeh. This 50/1.8 FD S.C. should be optically the same as the later 50/1.8 Canon FD lens I shot on my Canon AE-1 Program, but I like the results this older lens returned much, much better. If I were going to keep my Canon gear, I’d invest in another one of these FD S.C. lenses.
To see more from this camera, check out my Canon TLb gallery.
I guess I’ve tipped my hat: this camera is not long for my collection. I made the choice easily, with my head: I’m planning on using my Pentax and Nikon SLRs going forward, meaning this TLb will get little or no use. It deserves a new owner. But my heart aches a little, because this camera is such a gem. I use a simple heuristic when judging a camera: if the rest of my cameras vanished, could I just get on with making great images with the one that remained, and be happy? The answer for this TLb is hell yes.
Get more of my photography in your inbox or reader! Click here to subscribe.