This metal, mechanical 35mm SLR is fairly typical of its early-1970s era. What sets it apart is a wonderful 50mm f/1.7 lens. Check out my updated review here.
What a study in contrasts these two 35mm cameras are: one a metal, mechanical SLR and the other a plastic, auto-everything compact.
First, the SLR, a Nikkormat EL. This was the end of Nikon’s Nikkormat line. It’s a fine camera and a pleasure to use. See my freshened review here.
The Pentax IQZoom EZY is a chunky compact with a 38-70mm zoom lens. Cameras like these were all the rage in the 90s, and again today among film shooters. Read my updated review here.
I’m in the home stretch, with just a few more cameras to evaluate in Operation Thin the Herd.
I didn’t count cameras before I started, but I’m sure I owned more than 100. As of today, 43 remain in the collection. See my complete inventory here.
Eight of the 43 cameras are new to me and are in my to-shoot queue. They came to me more than a year ago from photographer David Ditta as he shrunk his own extensive collection. (See his collection on his Web site here.) David, if you’re out there, I’m sorry it’s taken me so long to get to your gear. 2019 to be sure.
A few cameras have been “on the bubble,” and I could decide to sell them or give them away at any time. For example, until recently I owned two similar Kodak Retinas, a IIa and a IIc, both wonderful. One belongs in my collection, but I didn’t need both. The IIa has a faster lens, but the IIc offers interchangeable front elements and was owned by the father of an old friend. I was originally not in a hurry to decide, but finally chose to send the IIa to my EMULSIVE Secret Santa recipient as a gift in December.
Another is this minty Polaroid SX-70. I love this camera and the incredible innovation it represents. It works, but a good CLA would make it perfect. SX-70 CLAs aren’t cheap. I’ve considered splurging on one, but I keep holding back because the available films are stinking expensive and nowhere near as good as the old Polaroid films. I just can’t see myself dumping $150 into a CLA only to get soft, washed out images that themselves cost north of two bucks each. It breaks my heart, but this SX-70 will probably be better going to someone who will use it and love it. Yet I hesitate, because I love the idea of this camera so much.
Several cameras in my inventory never got a turn in Operation Thin the Herd because there was never any doubt I was keeping them. One of them is my Kodak Monitor Six-20 “Special.” Even though it takes discontinued 620 film, even though the shutter linkage is fussy, I love this camera. It does wonderful work. I will commit to one roll of expensive custom-spooled 620 film in it a year. I just bought some expired Verichrome Pan in 620 for it!
Another no-brainer keeper is my Nikon F2A, which was a generous gift to my collection. It’s a lovely camera and a capable workhorse, but its meter is fussy. I’m about to ship it to premier Nikon F2 repairman Sover Wong for a CLA and meter repair. It will get regular use forever thereafter.
43 cameras is obviously still more than I can regularly use. While I consider myself more a photographer than a collector now, I am still a collector. Yet only a couple cameras in the collection will remain as display items. I enjoy using all of the rest and will put a roll through them once in a while.
After I wrap up Operation Thin the Herd I’ll start shooting David Ditta’s cameras. I’ll even buy a camera here and there and review it, because I still love the experience of a new-to-me old camera. But mostly I’ll get on with making photographs with my thinned herd, getting to know each camera much better, and becoming a better photographer as a result.
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Over the last few years I’ve sold many cameras from my collection. It’s been a surprising adventure. Here are some lessons I’ve learned.
I can list a camera so much faster on my blog’s For Sale page than I can on eBay. Really, listing on eBay is kind of a hassle.
I’ve had several bad buyers on eBay, but I’ve had zero problems with people who’ve bought gear through my blog. I’m sure that day will come, but so far everyone has been personable and cheerful about buying from me via my For Sale page.
Sometimes buyers send me very nice emails sharing about their own collections and why they are so excited to receive the camera they bought from me. I enjoy getting those emails and responding to them. It makes the whole experience much more personal, I think for both me and buyers, than is possible on eBay.
Shipping supplies cost money, but I’ve found ways to manage the cost. Amazon A3 boxes are just right for nearly every camera-shipping situation at 10″ x 7″ x 5.25″. More than half of the stuff we buy from Amazon comes in A3 boxes.
I do run out of A3 boxes from time to time. The CVS around the corner keeps 8″ x 8″ x 8″ boxes stocked at about a buck and half each and they’re almost as good as those A3s. I’ve even resorted to buying boxes on Amazon. You can buy any size you can imagine, in bulk. They usually put them into a box to ship them — a shipping box shipping shipping boxes.
Bubble wrap is expensive, but I’ve found no alternative for wrapping cameras. It’s cheapest at Walmart. To fill in the rest of the box I use packing peanuts or sealed-air packs. I get plenty of that stuff in the shipments my family gets all the time.
Always buy the 3M packaging tape. Everything else is junk — the dispensers don’t work well, the tape is thin and hard to work with, or both.
I always want to pay for shipping via PayPal, since that’s where I keep my funds from these sales (and from blog ad revenue and book sales). You can pay for shipping and print USPS labels directly from PayPal here. And now the USPS offers PayPal payment online, too, at Click-N-Ship here.
My wife owns a good kitchen scale that goes up to six pounds. It’s been a godsend. Before marrying her I used to weigh packages by stepping on my bathroom scale with and without the box in my hands, and subtracting. A couple times a buyer contacted me to say my bathroom-scale method resulted in postage due. D’oh! I cheerfully sent them the postage cost with my apology.
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Meet the camera that scolds you. Check distance! Too dark, use flash! Load film! It’s the Minolta Talker, aka the Minolta AF-Sv.
This camera came to me from the father of an old friend. He sent me his entire collection, and this was in it. I didn’t expect much from it, but on a sunny summer day Fujicolor 200 delivered slightly underexposed but soulful results.
As a result I’ve been looking forward to this camera’s turn in Operation Thin the Herd. When that turn came it was late November and early December, and the days were dismally gray. The voice in my heart said, “It’ll be fine! Great pics ahead!” while the voice in my head said, “This isn’t going to work out well.” I loaded Fujifilm Superia X-tra 400, thinking I’d need the extra exposure margin. Even so, this camera underexposed consistently, to muddy and mottled result. I should listen to my head more.
Let’s get it out of the way right now: that the camera talks is a useless gimmick. “Too dark, use flash” is all I can get mine to say, and that message would be more effective as a beep or a light. I shut the voice off. Speaking of flash, I’m not sure the one on my Talker works.
The camera does work all right inside with enough ambient light, though. This was our Thanksgiving table. The china is Rosenthal from Germany and has been in my mother’s family for three generations. The purple water goblets are from Walmart, because this family knows better than to be too uppity.
The AF-Sv handled all right. It’s a chunky camera so it doesn’t fit satisfyingly into the hand. But it’s easy enough to frame in the big viewfinder and the shutter button is where my finger expected it to be. It slipped right into my winter coat’s big front pocket. I had appointments all over town and up in Lafayette, and it went along on all of them.
I did get about thirty minutes of sunshine in Lafayette, and it made all the difference to this camera. I had bright light when I shot the church door that leads this post, too. The shot below shows the sharpness this lens can deliver.
Every last photo needed a hit of Auto Tone in Photoshop to be true to color though — especially shots I made on a drizzly day in Downtown Indianapolis. Here’s where an auto-everything point-and-shoot shines: this ’70s truck came along and I was able to capture it lightning fast.
Lesson learned, though: shoot this camera on a sunny day, and overexpose by a full stop. The only way to do that on this camera is to dial in the appropriate ISO to get that net result, such as ISO 200 for ISO 400 film. The ISO dial is around the lens.
This camera also struggled to focus close in anything other than great light. I wanted the fellow in front of this strange sports sculpture to be the subject. He’s farther away than the camera’s close-focus limit.
To see more from this camera, check out my Minolta AF-Sv (Talker) gallery.
I was disappointed in how this camera performed on this outing. Maybe I expected too much of it. It’s got to be hard to make an auto-everything point-and-shoot that gets everything right every time. But I can’t imagine shooting this camera ever again.