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 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.

Canon Snappy 50

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.

Canon Snappy 50

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.

Stupid good

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.

Red car parked

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.

Flowering trees

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.

Cubs

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.

In Starkey Park

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.

In Starkey Park

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 got it

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.

In the kitchen

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

Road closed

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.

Cemetery gates

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.

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Film Photography

Brick Street Market

Someday Margaret and I will move back to Indianapolis from Zionsville. Not only do I miss the city, but I also don’t enjoy the suburban lifestyle. But when we go, we will absolutely miss being just a few minutes away from Zionsville’s charming downtown, with its shops and restaurants.

We will also miss events like the Brick Street Market. It’s an annual thing, except that (I think) it was skipped last year thanks to the pandemic. But this year, with vaccinations on the rise, they held it. We’re fully vaccinated, so we went. I had Fujifilm Superia X-tra 400 in, and my 35mm f/2.8 SMC Pentax-A lens on, my Pentax KM, so I brought it along.

Several blocks of downtown are closed for the market, and vendors set up booths. Some of the vendors are local, most of the rest come from around the state, and a few come from surrounding states to hawk their (mostly) handmade wares.

Brick Street Fair
Brick Street Fair

It’s called the Brick Street Market because Zionsville’s Main Street is paved in brick. It’s hard to see in these photos, but the the center section of the street is a different color brick from the outer sections, because that’s where the streetcar tracks used to run and when they were removed I guess they couldn’t find matching brick.

The Friendly
Kettle korn

I moved in close to capture some of the more interesting products for sale.

Oh my gourd
Block birdhouse
Earrings
Tie dye
Toy car
Braids
Lanyards
Masks

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Film Photography

Back from the shop: Pentax KM

Pentax KM

When I shot my Pentax KM during Operation Thin the Herd, I dropped it onto a stone floor. I’m such a klutz. At first I thought I’d only dented the bottom plate, but later I discovered that any lens’s aperture ring turned stiffly when it didn’t before. I worried that the fall had bent something in the mount.

It took me 2½ years, but I finally sent it off to Eric Hendrickson for repair and CLA. Eric fitted a replacement bottom plate and adjusted whatever was needed so lenses operated properly. He also replaced the entire metering system as the original wouldn’t stay calibrated.

Man, did it feel good to have this camera back! It’s not just because I enjoy using it, but because this camera previously belonged to my longtime friend Michael, and before that his father, who bought it new. I still have the original receipt.

Upon its return, I immediately shot two rolls of Fujifilm Superia X-tra 400 with it, using my 50mm f/1.7 SMC Pentax-M lens. The KM performed beautifully. A few photos I made of Margaret with our granddaughter in the front yard were stunning.

Grandma and granddaughter

I took the KM on a gray-day walk through Starkey Nature Park. Eagle Creek cuts through here, and an old railroad bridge remains.

Starkey Park
Starkey Park
Path at Starkey Park
Path at Starkey Park
Up the stairs

I also made a few photos around my yard, as I do.

Droplets
Purple flowers
Tulips and the statue
Potted pink posies

I also shot the KM at an annual event in downtown Zionsville. I’ll share those photos in an upcoming post.

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Camera Reviews

Nikon F-801s

As 35mm SLRs transitioned to autofocus, it took a few iterations before manufacturers settled on the controls we all know. The Nikon F-801s is an early camera in that transition. Also known as the N8008s, and manufactured from 1991 to 1995, it supplanted the F-801/N8008, but added only improved autofocus and a spot-metering mode to the earlier camera. (Read my N8008 review here.)

Nikon F801s

This camera represents Nikon’s second iteration of autofocus cameras. The first was the F-501/N2020, which had a much more square body. The F-801s generation of cameras introduced The Blob as the dominant SLR shape.

Nikon F801s

The F-801s was in Nikon’s semi-professional range, sitting just below the F3 and F4 in the pecking order. As such, it was a robustly built camera, solid and heavy. It also offered a ton of features, including depth-of-field preview, multi-exposure, a two-shot self-timer, matrix or center-weighted metering, programmed autoexposure, and film setting by DX code with manual override from ISO 6 to 6,400. The F-801s’s shutter operates from 30 to 1/8000 second. Finally, three focusing screens are available, including the standard matte Type B screen, as well as a gridded Type E screen and a microprism Type J screen.

Nikon F801s

The F-801s loads the film for you when you insert the cartridge, pull the leader across to the red mark, close the door, and fire the shutter. It winds the film for you, but it doesn’t rewind automatically. If you’re not paying attention to the frame counter, you won’t find out you’re at the end of the roll until you press the shutter button and nothing happens. To rewind, press both buttons atop the camera marked with the red rewind symbol.

The controls were an evolutionary step toward the now-standard mode dial. Press the Mode button and turn the dial to cycle through the modes, which appear in the LCD. There are two program modes, normal (P) and high (PH), which chooses faster shutter speeds to freeze motion. You can also choose dual mode (PD) that chooses normal for focal lengths less than 135mm, and high otherwise. There are also aperture-priority (A), shutter-priority (S), and full manual (M) modes.

If you like auto-everything Nikons, I’ve reviewed several, starting with the similar N8008 (F-801). Also check out the N90s, the N50, the N60, and the N65. You should also check out Nikon’s manual-focus bodies like the F2, F3, FA, and N2000. Or just check out my big list of all the cameras I’ve ever reviewed here.

I loaded four AA batteries into this Nikon F-801s, without which the camera is inert. I mounted my 50mm f/1.8 AF Nikkor lens and spooled in some Ultrafine eXtreme 400, which I developed in LegacyPro L110, Dilution B. This was my first go with this film. I don’t know why I do this to myself, because when I don’t like the way the images look, I can’t tell whether it’s the film or the camera. I wasn’t thrilled with these images. A few that I shot on a walk around the strip mall near my home turned out best.

BW3

I knew I was going to enjoy using the F-801s because I enjoyed using the N8008 (F-801) I used to own. This is just a solid, competent performer. The autofocus is dog slow by modern standards, but that never bothers me. I almost never photograph things in motion. I have the time to wait.

Drive thru

But something’s wrong with the autofocus on this F-801s. At infinity, it hunts like mad and half the time won’t focus. When it does, the camera usually won’t let you make a photo. An X appears in the viewfinder LCD rather than the solid circle that means everything’s hunky dory. At closer range, the camera often focuses just behind your intended subject.

Do Not Pass

I finished the roll around the house. Trying to figure out what was up with the autofocus, I trained the camera on a drawing my brother made for me many years ago. He’s a talented illustrator; his favorite genre is comic-style art. It’s too bad he doesn’t draw anymore.

Java Jive

Our granddaughter was over for a visit that day. She likes it when we make a bowl of soapy water for her so she can play in it. Notice how the F-801 focused just behind our granddaughter’s head.

Playing in the sink

Disappointed in, but not daunted by, the F-801s’s focusing woes, I decided to try a different lens in case something had gone wrong with my 50/1.8. I thought the lens was unlikely to be at fault, but what the heck. I mounted my 28-80mm f/3.3-5.6G AF Nikkor lens and spooled in some Fujifilm Superia X-tra 400. Sadly, the camera continued to whiff focus in just the same ways.

I nosed around the photo forums for tips on what might be wrong. A few others reported this problem, and one fellow said he repaired his by blowing dust off the AF sensor. It’s behind the lens, under the mirror. I tried it, but it didn’t help. Perhaps the AF sensor has just gone bad.

I finished the roll with autofocus turned off. The focusing screen offered no focusing help such as a split image, so I just twisted the focus ring until things looked sharp enough and hoped for the best. It worked out fine.

Lion graffiti

I took the F-801s on a walk around Lions Park in Zionsville. This is where the Little League plays.

From the mound

The 28-80mm lens was a fine choice for this walk and it delivered good sharpness. As for the sign in this photo, Zionsville is a wealthy suburb, and families here have high expectations of their experiences around town.

Remember

Except for its autofocus woes, the F-801s performed well. Its large grip makes it a little awkward in the hand; the F50 I shot recently felt far more balanced.

Ladder

See more photos from this camera in my Nikon F-801s gallery.

This Nikon F-801s was a gift to the Jim Grey Home for Wayward Cameras, but if you want one, they go for peanuts on eBay all the time. My F-801s’s autofocus problems notwithstanding, these are generally reliable cameras and are a good value in easy SLR shooting. I prefer my Nikon N90s, which replaced the F-801/F-801s and evolved the 35mm SLR’s controls even further toward the configuration that everybody uses today. It feels more luxurious in my hand, and it focuses faster.

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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 F50D

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.

Nikon F50D

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.

Nikon F50D

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.

1 Thess 5:16-17

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.

Tower 120

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.

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.

At my desk

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.

Sledding

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!

Playing with blocks

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.

Little bus

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.

Sidewalk closed

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.

the flower shop

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.

Black Dog Books

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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Recycled

Recycled
Minolta Maxxum HTsi
35-80mm f/4-5.6 Maxxum AF Zoom
Fujifilm Superia X-tra 400

2021

We got one of these enormous recycle bins recently.

I’m a little embarrassed to admit I’ve never recycled at home before this. Only a little embarrassed, because I’m not convinced that home recycling is going to change the world. But at least we’re now making an effort not to add to the vast islands of plastic currently floating in our oceans.

I would have continued not recycling were it not for Margaret. It bothered her a lot that we weren’t doing it, so she asked me to call the trash company and ask for a bin. It came the other day. Good heavens, but is the bin huge. It takes up a lot of space in the garage.

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Film Photography

single frame: Recycled

Green recycling bins on Fujifilm Superia X-tra 400.

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