Kodak Retina IIc

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You have to wonder what the point of the Kodak Retina IIc was, given that it replaced the very similar Retina IIa in 1954. Both are German-made compact folding rangefinder cameras for 35mm film, with fixed 50mm lenses, leaf shutters, and fine lenses. The IIc differs from the IIa in several ways, but two stand right out. Its winder is on the bottom plate rather than the top. And its 50mm lens lets in less light, with a maximum aperture of f/2.8 compared to the IIa’s f/2.

Kodak Retina IIc

But that front lens element interchanges. It just twists right off, and available 35 and 80mm front elements twist right in. Confusingly, some IIa bodies had Schneider-Kreuznach lenses while others had Rodenstock lenses. Schneider front elements wouldn’t mount on the Rodenstock rear elements and vice-versa.

That’s why the IIc existed: to move the Retina line toward being a system camera. Because what system camera doesn’t have interchangeable lenses? Retina accessories already existed out the wazoo: finders, meters, auxiliary lenses, lens hoods, flash holders, even stereo attachments.

Kodak Retina IIc

That’s not all that changed. The body was rounder. The front-cover latch moved to the edge where the cover opens. Its main shutter bearing and cocking rack might have been made more robust.

Kodak Retina IIc

The IIc also changed the way you set exposure from straight aperture and shutter-speed settings to exposure values (EVs). An EV number represents an exposure level. EV 15 is f/8 at 1/500 sec. — and f/11 at 1/250, f/16 at 1/125, and so on. And EV 14 lets in a “stop” more light than EV 15.

The IIc assumes you can convert light to EVs in your head, or you have a meter with an EV scale. Either way, you set EVs along the bottom of the IIc’s lens barrel. Pull down the metal lever and move it until it points to the right EV. You might have to adjust aperture or shutter speed to access some EVs. From there, turning the knurled dial moves the Retina through all the aperture/shutter-speed combinations that represent that exposure level so you can get the depth of field you want.

The meter app on my iPhone can output EVs, so I used this system. Except for the EV scale being awkwardly placed on the camera, it worked remarkably well. EV 13½? Click it into place and shoot. Nothing to it. On the other hand, the IIc’s EV system complicates setting aperture and shutter speed directly. So if you aren’t using EVs you will find this camera to be frustrating. Get a IIa.

Kodak Retina IIc

The IIc still has all the usual Retina quirks, chief among them being that you can’t close the cover until you set focus to infinity. After you’ve done that, to close the cover you press in the buttons on the top and bottom of the lens board simultaneously.

The other quirk is that the frame counter counts down, and when it reaches one, the Retina stops winding. So set that counter when you load the film! Or do what I did: forget to do it, shoot until you hit one, press the button next to the frame counter, and scoot the slider on the camera back repeatedly until you get enough frames to finish the roll. The winding tension at the end of the roll will tell you you’re done.

What’s not quirky is the shutter’s 1/500 sec. fastest speed. It makes the Retina IIc quite versatile. Someday I ought to drop in some fast film and shoot Sunny 16. But for my test roll I used good old Fujicolor 200.

Back yard log fence

I happily shot the rest of the roll, but when the film came back from the processor only the first frame, above, was exposed. Such a disappointment! I opened the camera back and fired the shutter at all speeds. I watched as it let in light every time. And the winder was clearly turning the takeup spool properly. The negatives showed no sign of sprocket-hole tearing. So I shrugged and loaded another roll of film, this time Kodak Gold 200. I blew through most of the roll in twenty minutes in my front garden.

Orange flower

I shot these around the 4th of July, when my flowers were really starting to go to town. Busy subjects like this one did tax my IIc’s rangefinder. I wish it were brigher; it might have been when it left the factory. But it’s also small. These conditions made it hard for my middle-aged eyes to focus on busy subjects.


It’s easy enough to focus when you back up and want lots of depth of field, however. My hosta were all in peak bloom when I shot this. I’m ambivalent toward hosta, but I have a lot of them in my yard because Verna, the woman who built this house, planted them.

Front yard

I took the IIc over to Juan Solomon Park to finish the roll. The city is replacing a bridge on one of the roads I take to get there.

Road closed

I’ve photographed this building on the park grounds many times because it is so handsome.

At Juan Solomon Park

This park has been a frequent subject because of its color and its varied shapes. This neighborhood is fortunate to have such a wonderful playground. It’s much nicer than the playground that was here when my sons were small and we used to visit all the time.


To see more from this camera, check out my Kodak Retina IIc gallery.

As you can see, the Retina IIc performed well on the second test roll. I did goof one thing up: I had my meter set on ISO 100 for this ISO 200 film. But fortunately Kodak Gold 200 has good exposure latitude. I adjusted exposure in Photoshop on several images to tame wild highlights and bring out best color, but every frame was usable as scanned.

The verdict: as long as you’re metering in EVs, the Kodak Retina IIc is a delightful camera.

To see the rest of my camera collection, click here
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Cameras, Photography

Nikon FA

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Nobody could alienate photographers as well as Nikon could in the 1980s. The company did it by leading the way with automation and electronic control. We take all of this for granted today, but then serious photographers were a traditional lot who shied away from anything not mechanical and manual in their cameras.

1983’s Nikon FA was, and is, the most technologically advanced manual-focus camera Nikon ever introduced. Yet it didn’t sell all that well compared to Nikons more-mechanical, more-manual cameras. Perhaps its high price (within spitting distance of the pro-level F3) helped push buyers away. But certainly its high advancement did.

Nikon FA

The FA offers both programmed autoexposure and Automatic Multi-Pattern (matrix) metering controlled by a computer chip. Its vertical titanium-bladed, honeycomb-patterned shutter operated from 1 to 1/4000 second. It synchs with flash at 1/250 sec., which was pretty fast for the time. Two LR44 or SR44 batteries power the camera. Without those batteries the Nikon FA can’t do very much.

IMG_4407 rawproc.jpg

The FA also offers aperture- and shutter-priority autoexposure. And it hedges against your poor judgment with Cybernetic Override — if the FA can’t find accurate exposure at your chosen aperture or shutter speed, it changes that aperture/shutter speed to the closest one at which accurate exposure is possible.

IMG_4408 rawproc.jpg

Also, if you don’t want to use matrix metering, you can switch to center-weighted by pressing and holding a button on the lens housing, near the self-timer lever.

Typical of Nikons of this era, it was extremely well built of high-strength alloys, hardened gears, ball-bearing joints, and gold-plated switches. It was mostly assembled by hand.

This FA was a gift from John Smith to the Jim Grey Home for Wayward Cameras. John has my tastes pretty well pegged at this point! I was in a black-and-white mood when I tested this FA, so I dropped in some Fomapan 200. Given the FA’s compact size, I figured the 50mm f/1.8 Nikon Series E lens would look balanced on it, and I was right.

I like this little clock. I got it at Target for my office at work four jobs ago. But I don’t have an office anymore, so it announces the time to nobody in my seldom-used living room. I keep thinking there’s a good photograph to be made of it on my bookshelf. I’m not sure this is that good photo. I’ll keep trying.

Clock on the bookshelf

The FA’s winder glides on silk, and when you fire the shutter the mirror slap is surprisingly gentle. My finger always hunted to find the shutter button when the camera was at my eye, though. That surprised me, as I’m used to everything falling right to hand on Nikon SLRs.

Vertical blinds

You have to pull out the winder to turn on the camera and make it possible to press the shutter button. I wasn’t crazy about this, especially when I turned the camera to shoot portrait, as the winder would poke me in the eyebrow. Because I’m right-handed I tend to rotate my camera so the shutter button is up top, where it’s easy for my right finger to reach. When I rotated it so the shutter button was on the bottom, the winder stopped poking me, but the button became awkward to reach.


An LCD in the viewfinder reads out your shutter speed. When it reads C250, you know you just loaded film and haven’t would to the first official frame yet. Every shot until then gets a 1/250-sec. shutter, like it or not. I have other Nikons from the same era that do some version of this and it frustrates me every time. I hate wasting those first few frames! And while I’m talking about the LCD panel, it reads FEE when you’re in program or shutter-priority mode but the lens isn’t set at maximum aperture, which is necessary for those modes to work.

P30 Alpha

The matrix metering on my FA was accurate enough, but I suppose there are just some challenging light circumstances it just couldn’t navigate. A little flash would have helped a lot when I photographed my No. 3A Autographic Kodak.

Folding camera in the shadows

I shot most of my test roll around the house, but also took it to work a few times and made lunchtime photo walks around Fishers. Someone in my building drives this lovely Fiat 500c.


The Nickel Plate tracks run alongside the building I work in, and I often walk along them on my strolls. This platform and awning are fairly new, and are largely for show as trains don’t travel this track anymore.

Fishers Station

I wrapped up the roll in my garden after a rain.

Wet hosta leaf

It was here that I discovered a fault in my FA: you can wind it as many times as you want after a shot. I wonder how that gets broken on a camera.


To see more photos from this camera, check out my Nikon FA gallery.

The Nikon FA is a delightful little 35mm SLR. Its compact size, light weight, high capability, and smooth operation make it a fine choice to take along wherever you go. And my quick eBay research reveals that working bodies go for far less than other contemporary Nikon bodies such as the better-known FM2. But that camera lacks the FA’s matrix metering. So why pay more for an FM2, especially now that we’ve all come to embrace the electronics in our cameras?

Cameras, Photography

Nikon N8008

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I did not need another auto-everything 35mm SLR. But in what is probably my greatest guilty pleasure, which says something about my buttoned-down life, I really enjoy them. I’m no less devoted to my first love: all-manual, all-metal SLRs! Yet I was deeply tempted when I came upon this Nikon N8008 body at KEH for $13.

Nikon N8008

I resisted. But that afternoon KEH emailed me an offer of 12% off used gear and I was a goner. Twenty dollars shipped for a body that cost $857 new. Pennies on the original dollar! Now is the time to buy these higher-end auto-everything film SLRs. And the N8008 (known as the F-801 in most of the rest of the world) was higher end, as it rested just below the pro-grade F4 in Nikon’s pecking order.

Nikon N8008

Befitting its station, its specs are solid. They begin with a big, bright, high-eyepoint viewfinder, which means you can see through it perfectly even when you’re wearing glasses. It offers both matrix and 75% center-weighted metering. Its shutter operates from 30 seconds to 1/8000 second and it takes film from ISO 6 to 6400 (and it reads the film’s DX coding). It syncs with flash at 1/250 second. And common AA batteries power it all.

Nikon N8008

It offers all of the modern modes: manual, programmed, aperture-priority, and shutter-priority. But as you can see, it was designed before the mode wheel became idiom. You expect that from a camera made from 1988 to 1990. To set mode, you have to repeatedly press the Mode button and look at the LCD. It works fine and isn’t cumbersome. It just takes a minute to adjust to it.

The N8008 also offers depth-of-field preview, allows multiple exposures, and boasts a self timer that can take two shots in succession. And its focusing screens exchange. Three screens are available, including the matte Type B screen that shipped with the N8008. You could also get the gridded Type E screen and the microprism Type J screen.

This camera also takes most F-mount lenses. Nikon lens compatibility requires a secret decoder ring (Ken Rockwell keeps his up to date) but with a few exceptions and caveats (pre-AI lenses won’t mount, AF-S lenses won’t automatically focus, AF-G lenses work only in programmed or shutter-priority mode, the latest AF-P lenses won’t focus) you can use your legacy lenses on the N8008.

I considered mounting my 50mm f/2 AI Nikkor to this camera just to test that compatibility. The moment passed quickly, a fleeting shadow. I reached instead for my 28-80mm f/3.3-5.6G AF Nikkor, a “gelded” lens that has no aperture ring. The N8008 drives this lens beautifully in P (program) or S (shutter-priority) modes. Even though Nikon shipped this lens with bajillions of its entry-level film SLRs, don’t underestimate this solid performer.

I loaded some fresh Kodak Tri-X and went to work at home, right next to my easy chair. I’d just finished a finger of whiskey. Photograph drunk, Photoshop sober?

Empty whiskey glass

I stepped back and zoomed out, revealing this lens’s one major fault: barrel distortion at the wide end. I reduced the effect in Photoshop.

Illuminated whiskey glass

These well-made auto-everything SLRs appeal to me, I think, because I can get high-quality images with almost zero thinking. That’s not to say I don’t like thinking. I get full joy from shooting my manual-exposure, manual-focus cameras. But sometimes it feels good to let the camera do all the work for you, all the while leaving you confident of good results. And with the N8008, I could have full control if I wanted it.

I never wanted it on this test roll. Good thing, as the gelded lens sharply limited my options. But on a stroll down Zionsville’s Main Street I didn’t much care. I twisted in my zoom level, pressed the button halfway to focus, and then pressed the button the rest of the way to get the shot. With a loud zip, the camera wound to the next frame and I was ready to go again.

Black Dog Books

I did, however, fall pray to one pitfall of easy-peasy shooting: I shot indiscriminately. Lots of uninteresting photos was the predictable result. This post shares almost all of the photos I think have any merit from this 36-exposure roll.

Brick Street Inn

Here Margaret stands between our two Fords in the parking lot at work. I used to work not far from her workplace, a large suburban church where she’s in charge of buildings and grounds. She wears dresses on Mondays to remind her co-workers that she’s a woman after all, as otherwise it’s jeans and T-shirts because a Director of Facilities never knows when she’ll find herself cleaning up after a sick child or crawling around a failed baptistry heater.

Margaret on Dress Monday

My sons have always been curious about my cameras. When they were very small I used to get the boxes down from my closet and we’d play with them together, cameras strewn across the living room. As I got serious about my collection again in my 40s and began to shoot my cameras more, my sons often asked if they could shoot them too. Frankly, I wasn’t always thrilled to say yes. They showed no real interest in exposure and focus, so explaining it to them got us nowhere. I took to setting the camera for them, but they were often impatient as I read the light and guessed distance and all. But a camera like the N8008 is perfect for kid use, even if that kid just turned 18. It requires no explanation beyond “press the button halfway so it can focus and then the rest of the way to get the shot.” My son did that perfectly while we waited for dinner at a Perkins one evening.

Me, taken by my son

Finally, I took the N8008 along the day I visited this abandoned bridge. It’s the one that cemented my love of exploring the old roads, because finding abandoned infrastructure is strangely exciting.

Abandoned US 40 bridge near Plainfield, IN

The N8008 is not without its flaws. It’s a little heavy for all-day use. The loud winder was annoying. Autofocus is slower than on a modern camera. But so bloody what? I don’t shoot sports anyway. This camera worked great, full stop.

But I still own a Nikon N90s, also a wonderful auto-everything 35mm SLR. One does not need both cameras. One does not need a hundred cameras stuffed into every nook and cranny of one’s house, either, but that’s where one is despite ongoing efforts to thin the herd.

Cameras, Photography

Another Yashica-D

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Is it possible to love a camera too much? Because I’m totally head over heels with my Yashica-D, a twin-lens reflex camera for 120 film. And now I own a second one.


This one comes from the father of my friend Alice, who last year gave me all the cameras he’s ever owned. It’s pristine. It came in a leather case, which looked pristine but wasn’t. As I removed the camera from it, all of the stitching disintegrated and it fell apart.


Yashica made these cameras for a whopping 16 years starting in 1957. They all 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 to be sure. Fortunately, the Yashikors are no slouches.

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 other D has that wide-Y logo, so it’s from after 1965.


When you open the hood the viewing box erects on its own, a nice touch. 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.

Loading film into any TLR is awkward at best as the form factor doesn’t lend itself to easy handling when the back is open. 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.

TLRs with a winding crank seem to be more sought after than these knob winders — indeed, I sought after one myself, and learned the charms of crank winding. But 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.

The Yashica-D is all manual. You set exposure by reading the light yourself, or with the help of an external light meter. The two dials on the camera face set aperture and shutter speed. A window on top of the viewing lens shows what is dialed in. And before you can take a photograph, you have to cock the shutter. The lever is by the taking lens.

I spooled some Kodak Ektar into this D and went out to shoot. I spent a little time in Crown Hill Cemetery, home of one of the nation’s largest military cemeteries.

Charles H. Ackerman

I also took the D on a walk around my neighborhood. I love shooting things up close with these Yashica TLRs.


But it does fine landscapes, as well. The big focusing knob has delightful heft — not so much that it’s a chore to turn, but just enough that you can easily focus precisely with no fiddling.

Eastern Star Church

This goose is a decoration in one of my neighbors’ yards.


I shot this test roll last autumn. It took me three months to write about this camera because the lab botched the scans initially. I sent the negatives back for a rescan, at which time the lab discovered that their scanner was malfunctioning. After they got it repaired they sent me fresh scans back. This is a long view down one of the streets in my neighborhood.

Autumn Street

Alice’s dad often bought accessory lenses for his cameras. He sent me a Spiratone closeup lens set for this Yashica-D. I love doing very close work and was eager to try it.


I made a few photos with it, but all of them suffered from wicked parallax error. (Edit: Yeah, I know now, I mounted the lenses wrong. Taking on viewing and viewing on taking. D’oh! I’ll try again with another roll of film soon.) This photo suffered least. The lens is perhaps a little soft. I’m sure that with practice I could consistently adjust properly for parallax and be quite happy with this closeup lens.


To see more photos from both of my Yashica-Ds, check out my Yashica-D gallery.

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’ve kept my first one within arm’s reach since I got it. 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 were forced to sell all but one of my TLRs, I’d keep this Yashica-D.

Cameras, Photography

Certo Super Sport Dolly, Model A

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What I like about old folding cameras is how elemental they are. You get a lens and a shutter, but everything else is up to you. Plus, even the most straightforwardly styled of them look elegant.

It’s like having a beautiful but difficult girlfriend. Especially when something’s wrong in the relationship and she leaves it entirely up to you to fix it. That’s how it has gone for me with this Certo Super Sport Dolly.

Certo Super Sport Dolly

Certo was a German company, headquartered in Dresden. It produced a wide range of Super Sport Dollys (Dollies?) from about 1934 to about 1942. Mine is a Model A, the most common version by far. It takes 120 film. SSDs could be had with a dizzying array of lenses and shutters, but mine happens to feature the most common lens, the capable 75mm f/2.9 Meyer Görlitz Trioplan, set in the most comon shutter, a Compur, which operates from 1 to 1/250 second.

Certo also offered the Model B, which adds the ability to use plate film, and the Model C, which adds to the Model B the ability to rewind rollfilm. Most SSDs have a pop-up viewfinder, but the Models A and C could be had with rangefinders. And some SSDs focus by twisting the front lens element, and others focus by moving the entire lens board.

Certo Super Sport DollyCerto Super Sport Dolly

But back to my Model A. Notice the three frame-counter windows on the back, behind a door that covers them. Masks that clip on inside the camera let the SSD create either portrait 4.5×6-cm or square 6×6-cm negatives. The top and bottom windows count 4.5×6 frames and the center window counts 6×6 frames. My SSD came with only the 6×6 mask. New SSDs shipped with an exposure calculator card inside the door. As you can see, my SSD’s original owner replaced that card with some personal exposure notes.

Certo Super Sport Dolly

My SSD shows signs of heavy use and rough service. But the lens is clear and focuses smoothly. And the shutter snaps with square-jawed, steely-eyed authority. It sounds like it means business. It’s the Charles Bronson of shutters.

But before I could use this SSD, I had to repair it. The focusing mechanism was broken. I outlined the repair here. Once fixed, it behaved beautifully.

Ektar 100 is probably my favorite film for testing medium-format cameras because its exposure latitude leaves plenty of margin for error. I used a light-meter app on my iPhone as I shot my SSD, but Ektar would have let me confidently go commando with Sunny 16.

I shot this roll at Crown Hill Cemetery on an overcast day late last autumn. Just look at the great sharpness that Trioplan lens delivered. The bokeh is middling, though.


I found it hard to frame in the tiny viewfinder. I worried that close shots would be misframed, and I was right. My framing of landscape shots turned out fine, though.

Autumn tree in Crown Hill

I shot a lot of landscapes to check the SSD’s infinity focus. A complete repair of the focusing system would have included properly collimating the lens. That sounded like a hassle so I set infinity focus quickly and dirtily. It turned out okay.

Autumn tree in Crown Hill

Oh bother, a light leak. See it there, on the right, about 4/5 of the way down? There really isn’t much to go wrong with a simple camera like this, but bellows pinholes is one of the most common problems. My cursory initial check of the camera didn’t find any pinholes, but I suppose that’s the problem with cursory checks.

Lane in Crown Hill

This throwaway shot of cars in my driveway shows the leak at its leakiest.


If you’d like to see more, check out my Certo Super Sport Dolly gallery.

I really liked using the SSD, and so here soon I’ll take it into a dark room and shine a bright flashlight into the bellows to look for pinholes. And then I’ll seal them with dabs of black fabric paint. And then I’ll spool in another roll of Ektar take this beautiful old girl out. Because beautiful old girls do love to be taken out.


Canon EOS A2e

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Buying two failed Canon EOS Rebels wasn’t enough to kill my EOS desires. I really enjoy the 50mm f/1.8 lens I have for this mount and wanted a light body for those days I wanted to shoot it. I still have my EOS 630 and EOS 650, but as early bodies in the series they feel crude and sluggish. And they’re larger and heavier than the Rebels I’ve unsuccessfully tried lately.

And then a commenter on my Rebel S review mentioned how much he enjoyed the EOS A2e he had when they were new. It’s a semi-pro body, crammed full of features at a sky-high price: $1,200 upon its 1992 debut, which is equivalent to a little more than $2,000 today. So I went snooping around Used Photo Pro to see what they go for these days and found one for $27. That’s pennies on the dollar! I love a bargain, so I bought it.

Canon EOS A2e

This camera (called the EOS 5 outside the United States) is every bit as big and heavy as those early EOSes. But it works quickly and smoothly in straight-up shooting, so I met at least half of my goals.

Canon EOS A2e

The A2e features an electronic focal-plane shutter that operates from 30 sec. to 1/8000 sec. and shoots at 5 frames per second. The camera has all the modes you’d expect: programmed, aperture-priority, and shutter-priority autoexposure; full manual exposure; and special modes for macro, portrait, landscape, and sports.

Two dials control aperture and shutter speed: the usual one (among EOS cameras) behind the shutter button, and a big one on the camera back. In program mode, the first dial cycles through the aperture/shutter-speed combinations that yield good exposure. In aperture- and shutter-priority modes, it selects the aperture or shutter speed, respectively. In manual mode, it selects shutter speed while the big dial on the camera back selects aperture. That big dial apparently controls other things, too — such as letting you choose among evaluative, center-weight average, and spot metering — but I didn’t plumb its depths. Actually, I avoided using it. It’s awkward to use while the camera is at your eye, and the forums and reviews all over the Internet say it’s prone to failure anyway. I imagine this was a point of real frustration for people who relied on the camera back in the day. But for me, shooting casually, it was easy enough to stick to exposure modes that avoided needing to use the back dial.

Canon EOS A2e

You get two additional modes with the A2e. The clever DEP mode makes you focus twice, on something close and something far away; the A2e then ensures that everything in between is in focus and properly exposed. The Green Zone mode (the green rectangle on the mode dial) is similar to Program mode except that it blocks all adjustments, turning the A2e into a point-and-shoot SLR.

The A2e reads the DX coding on the film cartridge to set ISO from 25 to 5,000, or you can set it manually from 6 to 6,400.

The A2e also features eye-controlled focus — that’s the e in A2e. Canon’s EOS A2 is the same camera without this feature. The viewfinder contains five focus points. With this feature turned on, when you look at what you want to focus on the camera tracks your eye, grabs the focus point closest to where you’re looking, and focuses on what’s there. Even after I set it up as the manual directs, I couldn’t make this feature work. I don’t care. It’s a gimmick feature that I wouldn’t use anyway.

I dropped in a 2CR5 battery and some Fujicolor 200, mounted the 50mm f/1.8 Canon EF lens, and headed out to shoot. My first stop: the Episcopal church over on Meridian Street. It’s one of the places I regularly go to test old cameras as it has lots of interesting subjects at various distances. The A2e performed well. Just look at the clarity and color it returned!

Red berries

It was early evening and light was fading. I was shooting in Program mode, and the A2e was giving me as much depth of field as it could in the available light — so much, I feared I’d get no bokeh. So I dialed in bigger apertures. I wound up with a very narrow in-focus patch on several shots. I should have backed off a stop or two.

Angel investor

But at medium and long distances, everything worked out fine. The A2e metered light brilliantly, returning fabulous, sensitive shadow detail in contrasty situations.

Church door

I can’t get over the great color I got. This is one of the first rolls of film I scanned on my flatbed scanner. I’m used to a certain greenish caste from Fujicolor 200, and I didn’t get it at all here. I did get more grain than I’m used to, though. I wonder if what I’m used to is Fujicolor 200 as scanned by the Noritsu scanners most labs seem to use. This is Fujicolor 200 as scanned by an Epson V300.

Autumn Iris

I put the A2e on a tripod and photographed this Belleek pitcher on my coffee table. Margaret and I visited the Belleek factory while we were in Ireland and bought a few pieces there for our home. I really enjoy shooting objects close up in low light, but many of my old cameras just don’t do it well. The A2e handled it like a pro.


Do you remember how when David Letterman enjoyed one of his guests, he’d invite him or her to stay past the commercial break? Do you remember how seldom it happened? It was a high compliment to the guest. Sort of like Letterman, I seldom test a camera beyond one roll of film. On that rare occasion I seriously enjoy one, I’ll go for a second roll. Upon finishing the Fujicolor, I immediately loaded some Kodak Tri-X and kept going. I shot most of the roll on a day out with Margaret, which included visiting a little curiosity shop in Broad Ripple.


I love vintage mechanical and electronic items. If I had money and space, I’d collect typewriters. And radios and televisions. Oh gosh, televisions! Margaret is grateful that I lack money and space. The cameras I have stuffed into every nook and cranny are more than enough.


This is my favorite coffee shop in Indianapolis. I used to go over there on Saturday mornings with a pen and a notebook and freewrite while I sipped whatever varietal they had on the brew. No frilly coffee drinks for me: I take mine black. Somehow I haven’t been in there for three years. I must rectify this situation.

Monon Coffee Co.

I finished up the roll with a few la-de-da shots around the house. I must have the most-photographed home in Indianapolis.

Bag and mail

To see more of my photos from these rolls, check out my Canon EOS A2e gallery.

The Canon EOS A2e is not just a well-featured instrument, it’s great fun. For most everyday shooting, you don’t have to use the cumbersome controls. Just dial in P, or Av and have your finger ready on the wheel, and enjoy pleasant shooting. If it weren’t for that awkward and failure-prone back dial, this camera would be truly great. My Nikon N90s, a similarly featured camera from the same era, lacks this fundamental flaw and feels more solidly built. When I hanker to shoot a well-featured auto-everything camera, it’s the one I’m going to reach for most often. But for those times I really want to shoot this wonderful Canon lens, I’ve found my forever body.