Damion and Garrett at Starkey Park Yashica-12 Kodak Ektachrome E100G 2018
It should be obvious why this image didn’t make it into my new book, Square Photographs.
This was my last roll of the late, lamented E100G, and six of the 12 images were marred by light leaks. I wondered at first if I hadn’t wound the roll tightly enough when I removed it from the camera. But that would have affected all of the images where an edge was outside the spool ends. This happened randomly through the roll.
I worried that my Yashica-12 had developed a light leak, but when I used it again this problem didn’t recur. The Y-12 has worked flawlessly ever since.
On this day, my sons had come to visit. I drove them over to Starkey Park here in Zionsville, where we hiked the trails. Here, one trail ends in this ramp, which leads up to the Zionsville Rail Trail.
My new book, Square Photographs, is available now!
The Yashica-D was my first twin-lens reflex camera. I had lusted after TLRs for many years, but I always rebuffed them for their high prices. The Rolleicords and Rolleiflexes are the most respected members of the genre and go for big bucks on the used market. Lots of companies made TLRs in the Rollei idiom, but even the clones can be mighty expensive.
Nobody cloned Rollei TLRs as prolifically as Yashica, which produced them from 1953 to 1986. Collectors broadly group Yashica’s many TLRs by the film advance mechanism: knob or crank. The crank-advance Yashica TLRs, which stayed in production longer and offer the best lenses and shutters, go for the most money on the used market. The crank-advance Yashica-Mat tends to be the most expensive today because it includes a coupled CdS light meter. Except for a model here and there that flirted with selenium light meters, other Yashica TLRs offer no onboard metering.
The Yashica-D was a screaming bargain among used TLRs when I bought this one in 2013. I paid about $50 for it, shipped, and that was a typical price. Now good ones start at $75 and go up to about $200. That’s still a good price when you look at what a Rollei TLR costs.
Yashica made the Yashica-D for a whopping 16 years starting in 1957. Of the meterless knob-advance Yashica TLRs, the Yashica-D is the best specified. It used a Copal MXV leaf shutter, which operates from 1 to 1/500 second. Until sometime in 1970, the taking and viewing lenses were both 80mm f/3.5 Yashikors of triplet design. The Yashinon lenses that Yashica used in the D starting in 1970 were four-element, three-group Tessar designs. Those later Yashica-Ds are sought after by collectors. Fortunately, the Yashikors are no slouches.
When I held this Yashica-D in my hands for the first time, it felt incredibly right. I wanted to shoot with it right now. It was much as how the scent of a delicious meal can make you hungry, or the sight of a beautiful woman can make you …well, you know. I’ve never been so affected by a camera before. I heeded its call, moving it to the front of the line ahead of several other cameras awaiting their test rolls.
The Yashica-D is a real pleasure in your hands. Not only do all the knobs move smoothly and precisely, but there’s also a sensually pleasing heft to them. It delighted me to find that focusing the camera moves the entire lens assembly in and out. You have to cock the shutter manually, but the lever slides like it’s on silk with a tiny, sure click at the end. The winding knob is large enough to grip easily and it works smoothly. Tip: you have to press the button in the center of the knob first, or the film won’t wind.
But before any of that, you have to load film. This is awkward at best in any TLR as the form factor doesn’t lend itself to easy handling. But in the D’s case, after you hook the film backing end into the takeup spool you wind until the big arrow on the film backing paper lines up with a red triangle on the body. Then you close the back and wind until the film stops. From there, as you take photos and wind the camera stops at the next frame for you. It’s so much nicer than using the infernal red windows you’ll find on so many other medium-format cameras. A frame counter is on the side of the camera next to the winding knob.
When you open the hood, the viewing box erects on its own. When you press the Y logo in the lid, a magnifying glass pops out. Is it just my middle-aged eyes, or is this glass necessary for accurate focus? It is for me, anyway. I’m glad it’s there. Either way, be prepared: the viewfinder image is reversed. This takes time to get used to. You can also press the Y logo in the lid until it swings entirely out of the way, and use the lid as a sports viewfinder.
To set aperture and shutter speed, turn the two small dials between the lenses until the values you want appear in the window atop the viewing lens. Then cock the shutter, frame your subject, press the shutter button, and wind on to the next frame.
By the way, I also own and have reviewed the Yashica-12 (here), which is much like the Yashica-D but offers a light meter and a crank winder. Other medium-format gems in my collection include the Certo Super Sport Dolly (here), the Kodak Monitor Anastigmat Special (here), the Agfa Isolette III (here), the Ansco Standard Speedex (here), the Ansco B2 Speedex (here), and the Voigtländer Bessa (here). You can check out all of my camera reviews here.
It seemed right to shoot black-and-white film in this camera, so I loaded some Fujifilm Neopan 100 Acros and took it along when my sons and I drove up to Terre Haute one cloudy afternoon. This jet has sat on the lawn of the Clay County Courthouse in Brazil, Indiana, for as long as I can remember.
We also stopped by Iron’s Cemetery, which is hidden from view along US 40 west of Plainfield. Check out that delicious bokeh.
The roll’s 12 shots went by too fast. So I went to the fridge for a roll of now-discontinued Kodak Ektachrome E100G slide film and kept shooting. My D beautifully rendered the evening sunlight as it fell across my car’s tail.
I’ve put several rolls of E100G through this camera. This film just loves the D’s Yashinon lens.
I sometimes get out my Yashica-D just to enjoy it. I own few cameras that bring me such pleasure. One evening after work I shot an entire roll of E100G on the flowers in my front yard.
The father of a dear friend gave me another Yashica-D, one he had used for many years. It was in like-new condition and it was older, so I sold my first Yashica-D and kept his.
According to this site which lists the history of Yashica TLRs, this D was made sometime between 1963 and 1965. It came with a plastic lens cap; earlier models had a metal cap. And it has the “cowboy” Y logo on the hood; later models had a plainer, wider Y logo. My earlier D has that wide-Y logo, so it’s from after 1965.
To start, I shot some Kodak Ektar 100 in it. I took it to Crown Hill Cemetery, home of one of the nation’s largest military cemeteries.
This Yashica-D came with a Spiratone close-up lens kit. It did nice work on the narcissus in my front yard.
Along the way I bought a Yashica-12, which features not only the Yashinon lenses and crank wind, but also an onboard light meter. The meter makes the 12 a little nicer to shoot than the D. But I still get my Yashica-D out once in a while because I enjoy its simplicity. I shot Kosmo Foto 100 on one outing.
I shot Kodak Gold 200 while my wife and our granddaughter were planting flowers in pots out front.
The Yashica-D just feels great in the hands. You wouldn’t think so; this is, after all, a large brick of metal. Yet its weight and size feel just fabulous as you carry it around. And then everything about it feels and sounds precise and luxurious, from winding to cocking the shutter to pressing the button. The Yashica-D is a sensual joy, roll after roll.
It’s why I keep mine within arm’s reach. There are just times when I feel like a little medium-format fun and the D is always a marvelous choice. I’ve been known to shoot a roll of 120 in twenty minutes in my D! Moreover, Ds go for far less on the used market than the better-known Yashica-Mat 124-G with its crank winder and integrated meter. While I very much enjoy the crank-wound, metered Yashica-12 I own, I think that if I could keep only one TLR, it would be the Yashica-D.
My new book, Square Photographs, is available now!
The Deluxe Edition, on premium paper and ink, is $24.99 at MagCloud.com. Get yours here.
Good Morning Mama’s Yashica-D Kodak Ektachrome E100G 2014
My favorite meal to take in a restaurant is breakfast. Bring me the eggs, the bacon, the sausage, the fried potatoes. Rye toast if you have it, and plenty of butter. Keep my coffee cup filled!
Good Morning Mama’s is in the South Broad Ripple neighborhood of Indianapolis, in a former service station. That’s what we called gas stations until sometime in the 1980s, because for a long time most gas stations could also fix your car when it broke down.
Now that I’ve published my new book, Square Photographs, I’m going to keep plugging it by showing you a lot of square photographs that didn’t make the book. Click the link in the box below to get your copy!
My new book, Square Photographs, is available now!
I have always had a thing for folding cameras. They sure look impressive to me! But many of them are low-end cameras with limited capabilities. I wanted a usable, versatile shooter, so I went looking for a folder with a fast and well-regarded lens. I found it in the Kodak Monitor Six-20.
The Monitor is near the pinnacle of Kodak folding cameras, second only to the rare and expensive (even now) Kodak Super Six-20. Produced from 1939 to 1948, versions of the Monitor were made for 616 and 620 film. Regular 620 Monitors came with an f/4.5 Kodak Anastigmat lens at 103 or 105 mm and a Kodamatic or Flash Kodamatic shutter that operated from 1/10 to 1/200 sec.
For more money, however, you could get a 101 mm f/4.5 Anastigmat Special lens, which is a four-element Tessar design. It was coupled to a Supermatic or Flash Supermatic shutter that operated from 1 to 1/400 sec. My Monitor is one of these. The CAMEROSITY code in the lens’s serial number tells me mine’s from 1946. I gather that Kodak started coating, or Lumenizing in their lingo, this camera’s lens that year, which made them perform better. My Monitor’s lens is marked with a circled L, meaning it’s Lumenized.
Monitors also came with double-exposure prevention and automatic film spacing so you couldn’t wind beyond the next frame, both mighty nice features in those days.
All of these goodies cost, of course. The Kodak Monitor Six-20 with the Anastigmat Special lens was $66, which is equivalent to about $1,000 today.
The Monitor comes with two viewfinders. The first is a brilliant type, attached to the lens assembly. It’s small and reverses the image left to right, making it challenging to use. The other finder flips up on the top plate. It is big and bright, and includes manual parallax compensation.
To use the Monitor, first cock the shutter with the little lever next to the brilliant viewfinder. Guess the distance to the subject and turn the lens barrel to that number of feet. Then frame the shot and press the shutter button on the top plate.
If you like folding cameras, I’ve reviewed several others, including the Voigtländer Bessa (here), the Kodak Tourist (here), the Certo Super Sport Dolly (here), the Ansco B2 Speedex (here), the Kodak Junior Six-16 Series II (here), and the giant No. 3A Autographic Kodak (here). Or check out all of my camera reviews here.
For my first outing with the Monitor I loaded Kodak Ektachrome E100G slide film. I paid through the nose for this film as I bought it pre-respooled onto 620 spools. In retrospect, I should have started with inexpensive black-and-white film, as I had trouble learning this camera’s ways and buggered most of the first roll. “Why won’t this thing fire? …oh.”
So I shrugged, loaded more expensive E100G, and kept going. When I worked the Monitor properly, it delivered excellent sharpness and color.
The Monitor has a clever winding system that stops when you reach the next frame. A lever on the top plate has two settings: WIND and 1-8. After you load the film, slide the lever to WIND and, using the red window on the camera back, wind to the first frame. Then move the lever to 1-8. For the rest of the roll, the winder knob stops when you’ve wound to the next frame.
On my first roll, this system didn’t work quite right and I ended up with overlapping frames. If the same happens to you, just leave WIND/1-8 lever on WIND. Then you can wind freely just like on any other folding or box camera. You just use the red window on the back to see when you’ve wound to the next frame. You do need one extra step here, though: to override the Monitor’s double-exposure protection. Just move the lever underneath the pop-up viewfinder to unlock the shutter.
My Monitor has another common Monitor problem: pressing the shutter button doesn’t actually fire the shutter. The real shutter release is on the lens housing. A complex linkage between button and release is prone to misalignment. The best solution is to screw a cable release into the socket on the lens housing. What I did was just stick my finger behind the lens and trip the shutter manually. Then I pressed the shutter button to release the winding mechanism so I could wind to the next frame.
On this second roll of E100G, I shot the Monitor on a tripod. I was quite a sight toting my kit through the Broad Ripple neighborhood for these photographs! The Monitor had to come off the tripod for this photo, which because of its lovely color is my favorite of all the E100G shots I made.
I came upon some expired Kodak Gold 200, probably among the last Kodak made in 620 before discontinuing the format. It came along on a trip to Bridgeton to see the covered bridge. Unfortunately, the processor goofed and developed this film in black-and-white chemistry. I like this shot best, which I cropped square because its native 2:3 ratio was less interesting.
I made one other successful photo here, but buggered up the whole rest of the roll thanks to shake caused by the way I was firing the shutter.
After I returned home, I finished the roll on familiar subjects. This photo tells a lot about the Anastigmat Special lens’s capabilities. The sharpness and definition are wonderful, but despite the Lumenized coating, the lens is still prone to a little ghosting.
I mounted the Monitor on a vintage tripod and displayed it in my home for several years. I think this camera is gorgeous and I loved looking at it. But it’s a shame to own cameras I don’t use. So I spooled some Ilford FP4 Plus onto a 620 spool and took the Monitor out to play.
Ilford film in a Kodak camera? Scandalous! But the combination worked well. By this time I was developing my own black-and-white film. I used LegacyPro L110, a Kodak HC-110 clone, in Dilution B (1+31). Ilford packaging said 8 minutes at 20° C, so that’s what I did. I scanned the negatives on my Canon CanoScan 9000F Mark II scanner.
All was not perfect with the Monitor after so many years. The shutter had gummed up a little bit, which I fixed temporarily with a drop of lighter fluid through the cocking-lever slot. Some shots, as above and below, showed signs of further shutter issues or maybe light leaks.
But when the Monitor hit, it hit big. Its lens is still a peach after all these years.
I forget what I paid for my Monitor but it wasn’t more than $50. Today, you are hard pressed to find one with the Anastigmat Special lens for less than $100. You might save money buying the similar Kodak Vigilant Six-20, which could be had with this lens and shutter. It lacks the Monitor’s potentially troublesome winding system, but retains the Monitor’s definitely troublesome shutter linkage.
But the Kodak Monitor Six-20 is a beautiful folding camera, and is a peach to use when it works properly. You won’t be disappointed if you buy one. Mine is in the queue to be sent off for repair so it can shoot well for years to come.
If you like old film cameras, check out all of my reviews here! To get Down the Road in your inbox or feed reader, subscribe here.
I wonder why square photographs aren’t more common. Maybe it’s because starting in the 1980s 35mm point-and-shoot cameras became popular. That could have cemented the format’s 3:2 ratio as normal for photographs.
In the digital era the DSLR kept 35mm’s 3:2 aspect ratio. Point-and-shoots went with 4:3 for some reason, but that’s close enough to 3:2 to not look weird. My digital point-and-shoot, a Canon S95, has a 1:1 setting buried somewhere in its menus. My iPhone 6s also offers a square setting. But no digital camera I know of shoots square by default.
For me, however, shooting square feels like going back to my roots. For the first eight years of my photographic life, I shot nothing but cameras that made square photographs. It was the 1970s and early 1980s; square was very common then thanks to the wildly popular 126 format.
Here’s a scan of a print from my first-ever roll of film, Kodacolor II in a Kodak Brownie Starmite II, August, 1976. Side note: just look at how beautifully these drug-store-print colors have kept over the last 40+ years! These are my childhood friends Darin, Colleen, Christy, David, Mike, tank-topped kid whose face I can’t see and therefore whose name I can’t recall, and Craig just entering the frame from the right.
Here’s a scan of the negative, cropped 3:2 to the subject. Conventional wisdom calls this the better composition because the subject fills the frame. But what it lacks is the big blue sky we used to play under and the city infrastructure that lay all around and above us. The crop also cuts off the rounded tip of Mike’s grand walking staff. The square format brought in all the details.
That’s not to say that square format is inherently magic. Just like with any aspect ratio you have to find the subjects and compositions that work best. Here are some decent square photos I’ve taken more recently.
As a frugal film photographer with GAS (gear acquisition syndrome), I buy well-used cameras. Scuffs, dings, and even minor faults are part of that game. Every now and again I enjoy a camera so much I want to include it in my regular-use rotation. That’s when I invest in repairs, or even in buying another one in near-mint condition. That’s what led me to buy this Yashica-12 which had been serviced by premier Yashica repairman Mark Hama. To own it I forked over the most I’ve ever paid for an old camera. It’s not like it sent me to the poor house at just $135. But I’m used to paying under $50.
I loaded Kodak Tri-X 400 and took it on a road trip. The camera performed well and returned flawless images, such as of this little cafe on the square in Lebanon, Indiana.
For this outing I loaded my last roll of Kodak Ektachrome E100G and brimmed with confidence that I’d get twelve colorful, sharp, and perfectly exposed images. What I got was a light leak. What the what?
The seals can’t be bad, can they? That Mark Hama overhaul happened only a few years ago. Was I careless in spooling the roll into the camera? Was the roll a little loose after it came out of the camera? All I know is that the shots at the beginning of the roll were most affected, and the shots at the end (like the one below) very little.
I shot this roll over my birthday weekend. My sons came to visit. We hiked some trails in a nearby nature park and I took one son up to Thorntown and told him the story of the time his mom got me out of a speeding ticket there. (Read it here; it’s kind of funny.) That’s the Carnegie library above and the main drag below.
I had such a nice time with the 12 that as I sent the E100G off for processing I loaded some Ilford Pan F Plus and kept going. I bought several rolls of this stuff thinking that at ISO 50 it would be a good match for my old box cameras. It wasn’t. It turns out this film needs precise exposure — not exactly the bailiwick for a camera with one aperture and shutter speed. The 12 was going to be a much better match.
The 12 handled just as clumsily as I remembered. But I say so in the most affectionate way possible, as I just love the TLR experience. It feels deeply satisfying when an image comes into focus in that big ground-glass viewfinder. All of the 12’s controls feel great to use, full of heft and precision.
My only gripe with the 12 is that you have to juggle the camera from hand to hand as you use it — the winding crank and the focusing knob are on opposite sides of the camera. I have yet to grow used to it. My Yashica-D places the winding and focusing knobs on the same side of the camera, which avoids the juggling. But the D’s winding knob isn’t as quick and easy as the 12’s winding crank, and the camera lacks a light meter. Tradeoffs, tradeoffs.
I suppose another gripe with the 12 — with any TLR, really — is that it’s ungainly to carry. At the nature park I had forgotten to clip on a strap so I just held it in my hands. That got old fast, and I constantly risked dropping it. I clipped on a strap before we left for Thorntown and left it on for this trip to the old Central State Hospital grounds, but the 12’s form factor and weight made it ungainly even at my hip.
The Pan F Plus turned out great. Look, no light leak! I don’t know what the deal was with the roll of E100G. It’s a shame that’s how my last roll of the stuff turned out.
I wrote most of this review in August, but am just now getting around to posting it because I could not decide whether to keep this camera or not. I really need only one TLR in my life. My Yashica-D is so brilliant that I know I’m keeping it. (Though I might give it a turn in Operation Thin the Herd anyway, because autumn color is just around the corner and I have some Velvia in the freezer…) Yet the 12’s onboard light meter is such a convenience. I’ve decided is to defer this decision, which is a defacto decision to keep this camera. The 12 survives to fight another day.