Roberts Camera, the camera store in my town, received a batch and priced them at $29. It was easy to say yes at that price.
I’m surprised by how small and light this camera is. At 3 7/8″ x 2 1/4″ x 1″ and 2 1/2 ounces, it is easily the smallest and lightest 35mm camera I own.
It also joins a small, select group of film cameras I’ve owned from new, which includes the Fujifilm Instax Square SQ6 I reviewed last year, and a couple snapshot cameras I owned as a kid.
I chose the “murky blue” body color. The all-plastic body has a very slight texture to it. A previous Ultra Wide and Slim clone by Superheadz had a rubberized body. I’m under the impression that the original Vivitar’s body was smooth plastic.
The Reto Ultra Wide and Slim features a 22mm lens (hence, “Ultra Wide”). It’s barely thicker than a 35mm film cartridge (hence, “Slim”). If it is an exact clone of the Vivitar camera, its lens is f/11 and its shutter is a fixed 1/125 second. There’s no meter and there’s no flash, so this camera calls for fast film (such as ISO 400) with wide exposure latitude.
Conventional wisdom with the Vivitar version is to stick with 24-exposure rolls of film, as that camera jams on 36-exposure rolls. I’ll assume the same is true of this clone. 24-exposure rolls of color film are becoming hard to find as manufacturers are shifting production entirely to 36-exposure rolls. I have some 24-exposure rolls of ISO 200 color film on hand so that’s what I used. I wish I hadn’t used up the last of my 24-exposure Kodak Ultramax 400 recently.
Loading film into this all-plastic camera highlighted how flimsy it is. It was a little challenging to fit the film cartridge over the film rewind prong as the space for the film cartridge is snug. The winder feels plasticky and turns roughly, with a loud click when it locks the frame.
I’m sure I’ll be able to shoot the roll in this camera quickly, as I’ll easily be able to bring it with me everywhere I go. Look for a review here soon.
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.
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! To get Down the Road in your inbox or feed reader, subscribe here.
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