Where can you still get film developed?

I’ll always miss the days of taking my film to the drug store to get it developed and then printed or scanned. It was so convenient, fast, and inexpensive!

By-mail labs now fill the gap — except they’re neither as fast nor as convenient, and some of them aren’t exactly inexpensive. Still, I’ve found a handful that do good work. I’m going to share with you the ones I’ve tried and like best.

I’m a frugal, hobbyist photographer in Indiana, USA. I’m looking for basic services, good quality, and reasonable prices. That’s why this list doesn’t include any boutique or pro labs. They offer white-glove service and outstanding quality for the demanding customer, and charge accordingly.

I also shoot more than 35mm color film in my vintage cameras. I need labs that can handle medium-format (120) film, and obsolete formats like 620, 127 and 110. I also sometimes shoot expired film and prefer labs that give it the extra care needed to produce good images.

I do have a couple gripes with most consumer labs. First, some of these labs have become much more expensive over the years, charging 20 bucks (including shipping) to process and scan a roll of 35mm color film, and more than that for other formats. I don’t understand the economics of running a lab, but that price is mighty high.

Second, most of these labs offer basic scans that I consider to be far too small, at less than 2,000 pixels on the long side. These labs all scan at 72 DPI, which allows these small scans to be printed at up to 11×17 inches. But I share my photographs online, where pixel dimensions largely trump DPI. I often want to crop my work, but scans this small makes it difficult to do that and have the image still be large enough for online display.

Here are the labs I use, in order of my preference.

Fulltone Photo

Fulltone Photo, of La Grange, KY, processes, scans, and prints 35mm and 120/620 films. Their Web site says they also handle 110 and 126, but their order form disagrees. They process color and black-and-white negative and color slide films.

Their Web site is fulltonephoto.com. You print and fill out their order form and mail it in with your film. After they’ve processed your film, they email you for payment. They accept only credit cards. When your scans are ready they send you a download link.

Fulltone does good work at the lowest price anywhere. Processing and standard scans for 35mm color negative film costs $7. Medium format films cost an extra 50 cents; black-and-white films are a dollar more. Slide film costs $14-16 to develop and scan. They provide a postage-paid label for mailing your film to them. Return shipping is $4.50 for orders under $15 but free otherwise, so it pays to send them many rolls at once.

Fulltone’s standard scans are especially small at 1545×1024 pixels (despite their order form claiming 1818×1228). Fortunately, for an extra $5 you can get scans at a whopping 6774×4492 pixels (despite their order form claiming 4535×3035). Even with this upcharge, Fulltone undercuts everyone’s price for their standard service. The quality of Fulltone’s scans is very good.

Customer service is good — once they screwed up scanning one roll, and they cheerfully rescanned the negatives. They’re also the closest by-mail lab to my central-Indiana home, which cuts shipping time.

Dwayne’s Photo

Dwayne’s Photo in Parsons, KS, is the granddaddy of all by-mail labs. They process, print, and scan 35mm, 120/620, 220, 127, 110, 126, Disc, and APS films. They process color and black-and-white negative and color slide films. They also process movie films.

Their Web site is dwaynesphoto.com. At last, they offer online ordering! They take PayPal and credit cards. If you use their older printed order forms, they also take checks and money orders. When your images are ready, they send you a download link. You can also opt to have them mail you a CD of your scans.

Processing and scanning one roll of 35mm or 120 color or black-and-white negative film costs $9. Slide film costs $12.50-$13.50 depending on format. Other services’ prices vary. Return shipping costs $5 for the first roll and 50 cents for each additional roll. They don’t offer prepaid mailing labels so have your postage stamps ready.

Their 35mm and 120 scans of negative film are a not-bad 2740×1830 pixels, though slide film is only 1830×1220 for some reason. For an extra $5, you can get scans of these films at a ginormous 6770×4490 pixels. Scan resolutions are similar for other film types and formats. The quality of Dwayne’s scans is average.

Dwayne’s can handle any curveball I throw them. Once a roll broke while I rewound it in one of my old cameras. I stuck the camera into a dark bag, coiled the film into a black film canister, marked the can “Loose Film Open in Darkroom,” and sent it to Dwayne’s. They processed it without skipping a beat.

Customer service is good if impersonal. Once I sent them a roll of expired Kodak Gold 200 in 620 and they accidentally processed it as black and white. They sent me a note of apology, my black-and-white negatives and scans, and a fresh roll of Ektar, albeit in 120.

The Darkroom

The Darkroom in San Clemente, CA, processes, scans, and prints 35mm, 120/220/620, 110, 126, Advantix, and sheet film. They process color and black-and-white negative and color slide films.

Their Web site is thedarkroom.com. They offer online ordering with credit card and PayPal payment. They also offer printable order forms if you want to send a check or money order.

Processing and scanning one roll of 35mm or 120 color or black-and-white negative film costs $17.95 shipped both ways. Add $2 for a single-use camera, $3 for slide film, and $3 for other film sizes. Shipping costs the same no matter how many rolls you send, so it pays to send several at once.

Their standard scans are a puny 1536×1024 pixels. It’s worth it to spend the extra $3 to get the 3072×2048 enhanced scans. They also offer 4492×6774 super scans for $8 more. These sizes are all for 35mm and 120; other formats scan at similar dimensions. The quality of The Darkroom’s scans is average.

After you mail your film, expect scans in about ten days to two weeks. They are the lab farthest away from my Indiana home, so some of that time is how long it takes the film to reach California.

The Darkroom has never messed up any order, so I can’t comment on their customer service. They have been off this list the last couple years because they’re more expensive than the labs listed above. But I put them back on because they’re now less expensive than the next lab, which I keep on this list for a few key reasons.

Old School Photo Lab

Old School Photo Lab, of Dover, NH, processes, prints, and scans 35mm, 120/620, 110, 126, 127, 828, APS, and 4×5 sheet films. They process color and black-and-white negative and color slide films.

You order and pay through their Web site, oldschoolphotolab.com. Processing a roll of 35mm color negative film and getting their standard scans costs $19.75, including shipping both ways. 120/620 color negative film costs $20 shipped both ways. In both cases, black-and-white film costs $1.25 more and slide film costs $2.75 more. Other film formats start at $26 per roll, shipped both ways. They give discounts if you send several rolls at once. They accept credit cards and PayPal.

Over the years Old School’s prices have crept up so that they’re now the most expensive of this class of labs. You can get good service and quality for less at the other labs I recommend. Despite their ongoing price hikes, they stay on this list year after year for three reasons:

Their standard 35mm JPEG scans are a generous 3072×2048 pixels. I know no other lab that offers standard scans that large. You can order giant scans, at 6774×4492 pixels, for an extra $10 for JPEG or $20 for TIFF. Medium format scan sizes are similar.
They’ve never let me down — their processing and scans have always met or exceeded my expectations. I can’t say that about any other lab I’ve used. When the film really, really matters, I send it to Old School.
They take special care of expired films.

When your scans are ready, they email you a link to where you can download them. If you want a CD of the scans, it’s 3 bucks extra and you have to wait longer to get them. The quality of Old School’s scans is very good.

Old School is popular and therefore a little slow — after you mail your film, expect scans in no less than two weeks.

The staff responds promptly and cheerfully when you contact them. They’ve never screwed up one of my orders, but a few times I’ve written to ask if my film ever arrived. They now send an email when it does so you don’t have to wonder.

Film Rescue International

Sometimes you’ll find some very old, very expired film in a camera. Any of the above labs will process it, but they might not get good images because old film deteriorates.

Send it straight to Film Rescue International, filmrescue.com. They process any film, no matter how old, and use creative darkroom and Photoshop techniques to coax the best possible images from it. They’re expensive and they’re slow, but they do outstanding work.

I used Film Rescue for a roll of Verichrome Pan I found in a Kodak Brownie Hawkeye. That film had been in the camera for more than 40 years in unknown conditions, so I was afraid it might have deteriorated badly. They got good, high-contrast images from that film. They lacked “that Verichrome Pan look” but were crisp and clean.

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Camera Reviews

Sears KSX-P

Sears, Roebuck and Company sold cameras under its own brands starting in the 1950s. Outside manufacturers made them all; Sears was a department store, not a manufacturer. From the late 1960s through late 1980s, if you bought a Sears 35mm SLR, Ricoh made it — with one exception. Sears turned to Chinon for its last 35mm SLR, the 1985 Sears KSX-P.

This camera differs only cosmetically from Chinon’s CP-5. It offers two program modes, hence the “Dual2 Program” label on the prism cover. It also offers aperture-priority and manual exposure modes. You can mount any of the huge range of Pentax and third-party K-mount lenses to this camera. I don’t know how they did it, but automatic exposure modes work with any K-mount lens. I mounted one of my SMC Pentax-M lenses and program and aperture-priority modes worked fine. Pentax’s autoexposure SLRs required SMC Pentax-A lenses; older SMC Pentax-M lenses worked only in manual exposure mode.

The KSX-P uses a metal, vertical-travel focal-plane shutter that operates from 30 sec. (8 sec. in manual mode) to 1/1000 sec. It accepts films from 25 to 3200 ISO, selected using the dial around the rewind crank. Pull it up to turn it. The viewfinder features split-image and microprism focusing. The camera also chimes for various reasons mostly related to misexposure; you can turn that off with the switch next to the lens mount and under the KSX-P logo. That switch also activates the self timer. Three AAA batteries power the camera; they’re under the grip.

The two program modes are Program Action (Pa) and Program Creative (Pc), which you select with the gray lever on the mode dial. Pa chooses faster shutter speeds to freeze moving subjects, and Pc chooses smaller apertures for greater depth of field with static subjects. When using one of the program modes, put the lens at its smallest aperture. If you don’t, program mode still works, but the camera can’t choose apertures smaller than the one set on the lens.

Manual mode is unusual: you press the M button (next to the mode dial) to step through shutter speeds in ascending order. If you press the shutter button partway and then press the M button, you step through shutter speeds in descending order. It’s challenging to get both fingers in there. A flashing LED in the viewfinder appears next to the shutter speed. A second LED, glowing steady, shows the shutter speed necessary for the selected aperture. To set proper exposure, adjust aperture and shutter speed until the two LEDs become one.

The KSX-P lets you make multiple exposures on a frame. Slide the lever above the winder to the left and hold it, and wind. The film stays put but the shutter cocks so you can make a second exposure on the frame.

The rewind crank is unusual in that it is round, covering the shaft like a lid. I found the knob to be hard to hold as I rewound my test rolls. It kept slipping from my fingers, which caused the crank to close.

My Sears KSX-P came with a 50mm f/1.7 Auto Sears MC lens made by Chinon, which was probably the kit lens. My Sears KS-2 had a 50/1.7 Auto Sears MC lens too, but Ricoh made it. The easiest way to tell these identically named lenses apart is that the Ricoh lens takes 52mm filters and the Chinon lens takes 49mm filters, and the lenses are marked as such right on the front.

I’ve reviewed other Sears SLRs, namely the KS-2 (here) and the KS Super II (here). These are all K-mount SLRs, shared with Pentax. Check out my reviews of the Pentax KM (here), K1000 (here), ME (here), and ME Super (here). Or check out all of my camera reviews here.

I loaded a roll of Fomapan 400 and shot it in Program mode at EI 200, and then developed it in LegacyPro L110 and scanned the negatives on my Minolta ScanDual II.

I used Pa mode when I was chasing after our little granddaughter and Pc mode otherwise. The KSX-P’s viewfinder shows which shutter speed the camera chooses by lighting an LED along a scale. You can see the lens’s selected aperture in a window at the top of the viewfinder, but in program mode that’s always 22, not the aperture the camera selected. I would have liked know the aperture so I could guess the depth of field I might be getting. The camera has no DOF preview.

The KSX-P feels plasticky, but it’s got moderate heft. The viewfinder is a little dim, but it’s plenty usable. The battery grip makes the camera comfortable in the hand.

This lens focuses down to 18 inches, which ain’t bad for a non-macro lens. I like having the ability to get in close.

This lens has mild but noticeable barrel distortion, which I find to be uncommon among 50mm primes. The lens handles easily, however, and is compact.

You’ll never mistake the KSX-P for a professional or luxury camera. The controls are sure, but aren’t hefty or silky.

I shot a roll of Fujifilm Superia Reala 100 next in this Sears KSX-P. This stuff expired in March, 2002, but it was stored frozen, so I shot it at box speed. I took the camera to Crown Hill Cemetery in Indianapolis, an enormous, sprawling place, for a warm evening walk. Every time I’ve lucked into a roll of ISO 100 Fujicolor film, which isn’t made anymore, I’ve been blown away by the color.

I started the walk with the camera in program mode, but switched to aperture-priority mode after just a few frames. The forecast for full sun proved to be wrong as clouds rolled in. Light was mixed. With such slow film I wanted more control over depth of field, and aperture-priority mode gave it to me. The window at the top of the viewfinder showed me the aperture I’d chosen, and an LED in the viewfinder lit next to the shutter speed the camera chose. Perfect.

My only gripe with this camera is that the shutter sounds weird and cheap: Shhhhhh-chunk-ping. It sounds the same regardless of the shutter speed, which made me wonder whether the shutter speeds were accurate. (I get a sense of shutter function by listening to it. 1/15 sounds a lot slower than 1/500.) It wasn’t until I saw my developed negatives that I was sure the shutter worked properly. I don’t know if this sound is normal for a KSX-P or not, though.

A couple times I knew I was photographing into the light, and sure enough, the lens flared. Photoshop let me tone that down.

I bought this KSX-P from its original owner, who hadn’t used it in many years. It says something about this camera that when I put batteries in it, it fired right up and functioned properly.

Yet I didn’t fall in love with this camera. I suppose my bar is high after having used so many truly wonderful SLRs over the years. I know that if someone had gifted me one of these when it was new in 1985, I would have been thrilled, and I would have made wonderful photographs with it for years.

To see more photos from this camera, check out my Sears KSX-P gallery.

I bought this Sears KSX-P because I’m curious about Sears SLRs and this one cost very little. It is a decent performer, but more than that, it’s truly remarkable that automatic exposure works with any K-mount lens. If you have a passel of Pentax glass a KSX-P might be worth adding to your stable for its versatility.

If you like old film cameras, check out all of my reviews here!
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Camera Reviews

Canon Snappy 50

The 35mm point and shoot was an exciting development in photography for the average person. When they first came on the scene in the early 1980s, 126 and 110 cameras abounded and Kodak’s Disc cameras were popular. Unfortunately, they delivered so-so image quality. 35mm film’s 24x36mm frame was larger than that of any of those films, and even a middling lens could result in good, sharp images at snapshot sizes and in enlargements up to 8×10. And besides, “the pros” all shot 35mm film. That wasn’t exactly true, but that’s what the average person thought then. It’s what I thought then. When I bought a new camera in 1983 for a trip I would take the next summer to Germany. I wanted one of the early 35mm point and shoots, specifically a Canon Snappy 50.

Canon’s Snappy cameras, the 50 and its little brother the 20, were the first point-and-shoot 35mm cameras I ever heard of, probably because Canon advertised them on TV.

Unfortunately, I couldn’t afford either camera. Dad had paid for the trip, which cost my working-class family a ton of money. He told me that if I wanted a new camera, I’d have to save my allowance and buy it myself. The Snappy 50’s street price was about $90 (about $250 in today’s money), and the Snappy 20 about $70 ($190). That’s not inexpensive: you could buy an entry-level Canon SLR body with a 50mm lens for about $120 then. My $5 weekly allowance, plus money I earned mowing neighbors’ lawns, was enough to buy me only a crappy 110 camera, a decision I’ve always regretted even though it was the best I could do. But I’ve never forgotten Canon’s first Snappy cameras, which is why I bought this Snappy 50. It’s just an old used camera today, so I got it for $20 shipped.

The Snappy 20 uses a fixed-focus lens, but the Snappy 50 offers autofocus. It is limited to two focus zones, though, one centered around 5.9 feet and one centered around 13.1 feet. It uses the narrowest aperture possible at each focus point for the greatest possible depth of field. The Snappy 50 uses a 35mm f/3.5 lens that stops down to f/16. The shutter operates from 1/20 to 1/500 second.

Atop the camera is a switch to select between ISO 100 and 400 films. The camera doesn’t read DX coding, which hadn’t been invented in 1982 when the Snappy 50 was new. Consumer color negative films were either ISO 100 or 400 in those days, so this limited range was fine.

Flash is off by default, thank heavens. When the red light blinks inside the viewfinder, there isn’t enough light, so turn on the flash by pushing out the orange slider on the front of the camera. It whistles while it warms up, which is such a 1980s sound! The light around back next to the viewfinder glows when it’s ready. The flash has a range of 5.2 to 14.7 feet at either ISO setting.

Two AA batteries power everything, and the camera won’t work without them.

Loading film was remarkably simple for its day. Pull the “Pull Open” block on the camera bottom to open the back. Then lay the film cartridge in on the left, stretch the film across to the red mark at the right, close the back, and press the shutter button repeatedly until the film counter reads 1. After you finish the roll, to rewind the film look for the film-roll symbol on the camera bottom. Above it is a button; press it in with a finger and hold it. Then with another finger, slide the lever above that button in the direction of the arrow and let go of both the lever and the button.

To shoot, open the lens cover with the lever on the side of the lens area. Then frame and press the shutter button.

If you like point-and-shoot cameras, also see my reviews of the Canon AF35ML (here) and Snappy S (here); the underrated Kodak VR35 K40 (here); the Minolta Talker (here); the truly crappy Nikon Zoom Touch 400 (here); the Olympus Stylus (here), Stylus Epic Zoom 80 (here), and µ(mju:) Zoom 140 (here); and the Pentax IQZoom EZY (here), IQZoom 170 SL (here), and IQZoom 60 (here). Or check out all of my camera reviews here.

I shot a roll of Fujicolor 200 in my Snappy 50 and sent it to Fulltone Photo for developing and scanning. Because this film looks great with a stop of overexposure, and because this was expired (though cold-stored) stock, I felt confident shooting it at ISO 100.

The Snappy 50 was pleasant to use. In the great point-and-shoot tradition, you frame and press the button, and that’s all. The camera winds to the next frame and you’re ready to go again.

The lens is sharp and the exposure system does a good job of reading the light even after about 40 years. Look at the good detail in this flowering tree.

I really enjoyed the Snappy 50’s big and clear viewfinder. It turned out to be reasonably accurate, in that what I framed is more or less what the lens saw — except when focusing close, when parallax moved things I carefully centered in the frame up and to the left.

I never figured out what to do with the Snappy 50’s long lanyard. I tried hanging it around my neck, but then the camera bounced off my chest with every step. When I slipped it across my torso, the camera banged uncomfortably against the bottom of my rib cage. In the end, I wrapped it around my hand three times and carried it that way.

Some point-and-shoots deliver dull, muted color on overcast day. I don’t know why, but that’s been my experience. The Snappy 50 was not so afflicted.

I enjoyed myself enough with the Snappy 50 that I laid in another roll and kept shooting. I used Ilford FP4 Plus, an ISO 125 film, on the ISO 100 setting. FP4 Plus has good exposure latitude, so the slight overexposure would be no big deal. I developed it in LegacyPro L110 (a Kodak HC-110 clone) and scanned it on my Minolta ScanDual II. Looking at the negatives, it looks like the whole roll is underexposed and overdeveloped. I’m still learning how to read my negatives so I could be wrong. But I had to do a fair amount of post processing to make these scans look okay.

I used flash on this photo, the only time I did. It lit fairly evenly, but of course it left shadows as on-camera flashes do.

Processing the photos to bring out detail tended to bring out a fair amount of noise.

Most photos had blown-out highlights. About 25% of the photos on the roll were so blown out, I couldn’t rescue them. I’m really bummed out about that. But I had a fine time with the Snappy 50 anyway.

To see more photos from this camera, check out my Canon Snappy 50 gallery.

The Canon Snappy 50 would have been a great camera for the average person in its day. It’s pleasant to use and it has a good lens. That’s the formula for a successful point-and-shoot camera right there, even in the present day.

If you like old film cameras, check out all of my reviews here!
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Camera Reviews

Aires Viscount

When you think of Japanese 35mm rangefinder cameras from the 1950s and 1960s, names like Canon, Yashica, Konica, and Minolta come to mind. But the Aires Camera Industries Company made a series of well-regarded rangefinder cameras in the 1950s, as well. The 1959 Aires Viscount was one of the last the company made before it went out of business.

Looking at this camera’s specs, two things stand out: its fast 45mm f/1.9 lens, and its fairly fast 1/500 top shutter speed. Not bad for a leaf shutter (a Seikosha-SLV, to be precise). Other than that, the Viscount is fairly simple. It focuses from 2.67 feet (.8 meters) to infinity. There’s a frame counter above the winding lever on the top plate. There’s an accessory shoe. This camera is all mechanical and has no onboard light meter, so you don’t need a battery to operate it.

An 85mm accessory lens was available; it screwed into the filter threads. If you look into the viewfinder, you’ll see two full frames, an outer one for the attached 45mm lens and an inner one in red for the 85mm accessory lens. (Amusingly, they used a red filter to color the inner frame, and the one in my Viscount has slipped out of position.) There are also marks on the outer frame to correct for parallax when you focus within 3½ feet. A rectangular rangefinder patch is in the middle of the viewfinder.

Setting aperture and shutter speed takes a little getting used to, and it’s the one thing that keeps the Viscount from being a thorough pleasure to use. The aperture ring is at the end of the lens barrel. An exposure value (EV) ring is behind it, and the shutter-speed ring is behind that. The aperture ring turns independently. The EV and shutter-speed rings turn together, however, and when you turn them it’s difficult to not also turn the aperture ring at the same time. The Viscount biases toward using EV for exposure. I don’t naturally think in EVs, so I set the shutter speed first, and then aperture. Sometimes I reached the end of the EV scale before I reached the shutter speed I wanted. When this happens, I turned the aperture ring the opposite direction enough stops to let me reach my shutter speed.

The Viscount is heavy and solidly built. It’s a hair taller but noticeably narrower than a standard Japanese rangefinder from the 60s, such as my Konica Auto S2. The Viscount’s body design is less modern, but the S2 is six years newer. I hear that the Viscount has pot metal parts inside, but the camera has a reputation for sturdiness and reliability.

All of Aires’ cameras did. It’s a shame the company’s life was so short: it was founded in the late 1940s and was gone by 1960. It made TLRs at first, but shifted to 35mm rangefinders and stayed there through the rest of its short life.

If you like rangefinder cameras, then check out my reviews of the aforementioned Konica Auto S2 (here), as well as the Yashica MG-1 (here), Electro 35 GSN (here), and Lynx 14e (here); the Minolta Hi-Matic 7 (here), the Argus C3 (here), the Kodak Retina IIa (here) and IIc (here), the Canon Canonet 28 (here) and QL17 G-III (here), and the tiny Olympus XA (here).

My Viscount was donated to the Jim Grey Home for Wayward Cameras, and it was filthy. I assumed it would be broken. But it cleaned up nicely (except for a couple odd spots of corrosion on the front of the lens barrel) and it functioned. The slowest shutter speeds were clearly running long, but the speeds above about 1/8 second sounded right, to the extent my ears are any judge of a shutter.

That shutter is nearly silent! It makes only a tiny snick sound as it fires. The shutter button has a satisfying, almost luxurious feel. The shutter fires at almost the top of the travel, but if you stop there you won’t be able to wind. Press the button all the way down to release the wind lever.

The rangefinder on mine isn’t reliable. The patch is dim, and sometimes the rangefinder image doesn’t appear. I found that pressing my finger into the golden glass area on the front of the camera, and moving that glass around a little, eventually fixes the problem — for a while.

The focus ring has a big pip on it that’s supposed to aid focusing, but I always struggled to find it while my eye was at the viewfinder.

I tested this Aires Viscount with a roll of Ilford HP5 Plus, using a meter app on my iPhone to read the light. I developed the roll in LegacyPro L110, Dilution B, and scanned the negatives on my Minolta ScanDual II.

The Viscount came with me to Holliday Park in Indianapolis, a place I’ve tested many cameras. I go there less now than I used to since I moved to the suburbs. But on this day I had an appointment nearby, and brought the Viscount along.

Temperatures were in the 40s, too chilly for many of my old cameras, but not the Viscount. I wonder if it would work as well as temperatures approach freezing. It’s good to have a few old cameras I can use even in cold weather.

The negatives looked a little dense, which led to low-contrast scans. I had to heavily boost contrast in Photoshop to avoid these images looking flat and lifeless. But the lens delivered good sharpness and detail.

Framing was easy enough with the Viscount, even up close with the parallax-correction marks. Every frame contained what I framed in the viewfinder, and nothing more.

I also made a few photos along Lafayette Road on the way home from an errand. The great Wrecks, Inc., sign is a frequent subject. Notice that the left third or so of the frame is lighter than the rest of the image. This happened on two other images. I wonder if there’s some sort of light leak. The Viscount doesn’t have foam seals, but rather relies on deep channels around the door to block light. So I’m not sure where light would get in.

But this camera has been on a collector’s shelf, unused, for many years. It’s a testament to how hardy Aires made its cameras that this Viscount works this well after more than 60 years.

See more photos from this camera in my Aires Viscount gallery.

The Aires Viscount was a pleasant surprise. It’s pleasant to use and packs a good lens. If you require an onboard light meter, it’s not for you. Otherwise, it contends very well with any 35mm rangefinder camera from the 1950s and 1960s and is worth your consideration.

If you like old film cameras, check out all of my reviews here!
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Camera Reviews

Nikon F50

In 1994, when the Nikon F50 was new, we didn’t know whether digital photography would ever be good enough to replace film. Maybe companies like Nikon could see the day coming, but they had cameras to sell in the meantime. Nikon in particular kept evolving its lines of 35mm SLRs, including those at the entry level like this F50, which was called the N50 in North America.

Nikon’s SLRs moved slowly toward what we now consider the standard idiom, with an on/off switch around the shutter button, a mode dial, and an LCD display of settings. The F50 added the LCD display, but not the rest. A series of buttons around the LCD display let you choose most of the camera’s settings — not as simple as a mode dial, but not hard to figure out.

First, set the Simple/Advanced switch to Advanced. Then press the leftmost button to enter selection mode. The LCD panel lights up with P S A M; press the button above the mode you want. In P mode, press a button for the sub-mode you want; there are a bunch of them including a macro mode and a sports mode. I just used Auto, which is the first option on the left. For the S, A, and M modes, select aperture, shutter speed, or both using the buttons. If you need a little help figuring it out, here’s a manual at the wonderful Butkus site. Or set the Simple/Advanced switch to Simple and just use the F50 like a big point and shoot.

My F50 is technically an F50D because it has the date back. Not that I’m ever going to use it. The camera is a good size, noticeably smaller than the semi-pro N90s which was made around the same time. I recently got to shoot a Minolta Maxxum HTsi, which is smaller than this F50. The Minolta handled easily enough, but the F50’s slightly larger size made it even easier to handle.

The F50 is surprisingly heavy, though! Nikon’s next two entry-level 35mm SLRs, the N60 and N65, weigh next to nothing in comparison. The F50 isn’t as heavy as my all-metal Nikon F2, but it’s got noticeable heft.

The F50 offers a self timer, but it doesn’t offer mirror lockup, depth-of-field preview, or cable release. It reads the DX coding on your film to set ISO from 25 to 5000, but you can override ISO manually down to 6 and up to 6400. It uses Nikon’s famous matrix metering except in manual exposure mode, when it switches to center-weighted metering. Its shutter operates from 1/2000 to 30 sec. You can use most AF Nikkor lenses with it, and many AI Nikkor lenses in manual exposure mode. The F50 automatically loads, winds, and rewinds your film. A typical Nikon-style LCD inside the viewfinder shows exposure settings. A 2CR5 battery powers everything.

Speaking of winding, mine is a little on the loud side, and sounds weak and wobbly. There’s an odd, slight disconnect between pressing the shutter button and the shutter firing. It doesn’t inspire confidence, but you do get used to it. In contrast, when you press the button on the N60 or N65, it fires immediately and the winder is crisp and quiet.

If you like auto-everything SLRs, especially check out my reviews of these Nikons: the N90s, the N60, the N65, and the N8008. I’ve also reviewed the Canon EOS 650, EOS 630, EOS Rebel, EOS Rebel S, and EOS A2E. If you fancy Minolta, see my reviews of the Maxxum 7000, Maxxum 7000i, Maxxum 9xi, and Maxxum HTsi.

I mounted my 50mm f/1.8 AF Nikkor lens and loaded a roll of Ilford HP5 Plus, which I developed it in Adox HR-DEV 1+30. This was my first go with this film/developer combination. I wasn’t wowed. The scans needed heavy post-processing and some of them could not be made to look good. I later learned that this developer, once opened, should be used within six months — and this bottle had been open at least that long. Perhaps that contributed to the meh results. I let the rest of the bottle go.

It was far below freezing outside, so I shot this roll around the house. This Sears box camera is missing the red plastic bit over the exposure-counter window around back. I need to repair that before I can shoot and review it. But it made a fine subject for my F50. I shot a handful of other cameras with it, but they all suffered from shake as I shot them handheld. In Program mode, the F50 chose apertures of f/3.3 and f/4.5 with shutter speeds of 1/15, 1/20, and 1/30 sec. I normally have a very steady hand and can get away with shutter speeds down to 1/15, but not on this roll.

I was at a bit of a loss for subjects, so I reached for anything that I thought would work, like this orange. The tablecloth on the dining table had an interesting texture so that’s where I placed the orange.

This is where I write this blog and process my photographs. Thanks to the pandemic, it’s also where I work. I spend a lot of time in that chair staring at that screen. As you can see, I have a lot of wires running about, which I don’t enjoy. Someday I’ll figure out a good wire management solution.

I did make a few photos outside, but only by sticking my head and the camera out the door. One day during the cold snap we got about a foot of snow. My wife grabbed our youngest son (who’s 20 and hardly a child!) and a couple plastic snowboards and sledded down the back-yard hill. A zoom lens would have let me move in closer without having to step outside! The F50 did a reasonable job of setting exposure in the snow.

I wanted to see how this Nikon F50 handled with the kinds of subjects I normally shoot. So I loaded some Fujifilm Superia X-tra 400 and mounted my 28-80mm f/3.3-4.5G AF Nikkor lens. I first used it to chase our granddaughter around to make a couple candid photos of her. She’s hard to capture perfectly still!

I love this 28-80mm zoom and turn to it often. It handles easily, has good sharpness, and resolves subjects well with little distortion, except at 28mm. I generally zoom it out no more than 35mm.

I finished the roll on a couple walks outside in near-freezing weather, the F50 in my hand unprotected in the cold. It just kept on working.

The snow from the day I photographed my wife on her sled was beginning to melt. It made for a soggy walk through downtown Zionsville.

I was very happy with these images. They required next to no tweaking in Photoshop — little more than applying the “Auto Tone” command to brighten everything up.

See more photos from this camera in my Nikon F50 gallery.

I really enjoyed using the Nikon F50. It’s a terrific auto-everything 35mm SLR. This one was a gift from a reader to the Jim Grey Home for Wayward Cameras, but a quick look at eBay shows these selling for between $10 and $30, often with a zoom lens attached. The main concern with electronic auto-everything cameras is how robust they are, and whether they can be repaired when they fail. I’ve personally had much better experience with Nikon autoexposure and autofocus cameras working for the long haul than the other brands I’ve tried, namely Canon and Minolta. It’s why I recommend cameras like this F50 to people curious about film photography.

If you like old film cameras, check out all of my reviews here!
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Camera Reviews

Minolta Maxxum HTsi

It didn’t take long after Minolta introduced the first in-body autofocus and autoexposure 35mm SLR, the Maxxum 7000, for these features to take over the entire SLR market. It opened the SLR market to even casual shooters who wouldn’t know an f stop from a shortstop. Anyone could get high-quality images with point-and-shoot ease. Almost from the beginning, Minolta offered auto-everything SLRs aimed at the entry-level photographer. In 1998, the Minolta Maxxum HTsi was that entry-level camera.

The Maxxum HTsi cost far more than a point-and-shoot, however. It listed for $770 (including a 28-80mm f/3.5-5.6 zoom lens), which is about $1200 today. Nobody paid that; street prices were far lower. But you got a lot of camera for that money. It has a three-point autofocus system and 14-segment honeycomb-pattern metering. Its shutter operates from 1/4000 to 30 seconds. It reads the film’s DX coding to set film speed from ISO 25 to 5,000, or you can set film speed manually from ISO 6 to 6,400. It offers the usual modes: program, aperture-priority, shutter-priority, and manual. A built-in flash pops up when the camera doesn’t detect enough light. You can also slide a separate Minolta flash unit into the proprietary hot shoe. Unfortunately, two expensive CR-2 batteries power everything.

The HTsi offers the usual modes: programmed, aperture priority, shutter priority, and manual exposure. To access them, move the Mode dial to PASM. Press the P button above the LCD to return the camera to program mode at any time. To access the other modes, press the FUNC button and turn the wheel below the shutter button to cycle through A, S, and M. The HTsi also offers portrait, landscape, close-up, sports, and night portrait modes. To access them, press the P button and then press the button next to the LCD with a head on it, repeatedly, until an arrow appears beneath the mode you want.

An unusual feature of the HTsi is its customizable functions, like allowing the shutter to fire even when autofocus hasn’t locked on a subject, and leaving the film tip out upon rewind. The manual describes the rest of them. Only one was useful to me. By default, the HTsi fires the flash anytime it thinks it needs to. I hate that! But you can turn it off. The functions and their settings all have numbers; this one is Function 5, Setting 2. Turn the mode dial to CUST. Then turn the wheel under the shutter button until the LCD reads CUST 5. Then press the FUNC button and turn the wheel until 2 appears below CUST 5. Return the mode dial to PASM to take pictures.

By the way, this camera was called the Maxxum HTsi only in North America. As best I can tell, in Europe it’s called the Dynax 505si. I don’t think Japan got a version of this camera.

If you like auto-everything SLRs like this one, also check out my reviews of the Minolta Maxxum 7000, the Maxxum 7000i, and the Maxxum 9xi; as well as the Nikon N60, N65, N8008, and N90s; and the Canon EOS 630, 650, and A2e. Or check out all of my camera reviews here.

I loaded a roll of Fujifilm Superia X-tra 400 into the HTsi. The pictured 35-80mm f/4-5.6 Maxxum Zoom lens came with this body, so I left it on. I took it on a few walks around my neighborhood, one of which lasted a half-hour on a clear 25-degree morning. I held the camera in my hand in the cold the whole way. To its credit, it never complained or malfunctioned. It made every photograph I asked of it.

I shot the whole roll in full program mode. I figure that a camera like this is meant to be a giant point and shoot. As one, it’s competent and handles easily. It’s nothing to carry it just by holding its grip. That’s very nice on a long photo walk.

The HTsi focuses fast and I could never make it hunt. I was testing an older autofocus SLR from another manufacturer at about the same time and it hunted like mad unless the subject was crushingly obvious. That SLR was a more robust machine with better specifications, aimed at the semi-pro market. I’d rather shoot this HTsi because it just works.

I’m sure that other camera is built to outlast the HTsi. But the amateur who would have bought a camera like the HTsi was unlikely to use it nearly as often. It was likely to last a long time in that photographer’s hands.

To finish this roll I popped up the flash and photographed our home office, which happens to be in our living room. It’s odd to walk into this from the front door, but it works for us. The flash lit evenly.

I had a good enough time with the HTsi that I loaded a roll of Ilford HP5 Plus and kept shooting on a walk through downtown Zionsville. I developed the film in LegacyPro L110, Dilution B, and scanned it on my Minolta ScanDual II scanner.

Who knows how my HTsi came to have a 35-80mm f/4-5.6 Maxxum AF Zoom lens rather than the kit 28-80mm lens. This 35-80mm lens offered good sharpness corner to corner but did suffer from a little barrel distortion at the wide end. That’s typical of the genre, and isn’t surprising.

It’s also not surprising that this lens always flared in the sun, too. These are the kinds of challenges you expect from a zoom lens like this one and I wouldn’t be surprised if the 28-80mm kit lens performed similarly. Lenses like these aren’t stellar performers, but they are more than fine for an amateur photographer documenting his family’s activities.

The lens doesn’t offer a macro mode but it did all right when you moved in as close as it could focus.

I enjoyed using this camera, plain and simple. It just worked. What more can you want?

See more photos from this camera in my Minolta Maxxum HTsi gallery.

A reader donated this Minolta Maxxum HTsi to my collection. I wouldn’t have bought one on my own. It opened my eyes, as this is a terrific little SLR for easy shooting. Here’s the crazy thing about cameras like the HTsi: you can buy them for next to nothing. I just did a quick check of eBay and find dozens of these that sold for less than $50, and many for less than $20, often with some sort of lens still attached. Cameras like these are the great value in film photography today.

If you like old film cameras, check out all of my reviews here!
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Down the Road

Photographs and stories by Jim Grey

Tag Archives: 35mm

Where can you still get film developed?

Fulltone Photo

Dwayne’s Photo

The Darkroom

Old School Photo Lab

Film Rescue International

Sears KSX-P

Canon Snappy 50

Aires Viscount

Nikon F50

Minolta Maxxum HTsi