Camera Reviews, Film Photography

Olympus μ[mju:] Zoom 140

Is that a zoom lens in your pocket, or are you just happy to see me?

Sorry, I couldn’t resist. It’s just that the Olympus μ[mju:] Zoom 140 packs an awful lot of zoom lens into a pocketable camera.

Olympus µ(mju:) Zoom 140

But you’ll need a roomy pocket for this chunky camera. I suppose they couldn’t cram a 140mm zoom lens into a skinnier body. The Zoom 140 is much thicker than any of the other μ[mju:] cameras I’ve owned. (Actually, I’ve owned a few Stylus cameras, which is what the series is called in North America. This is my first one labeled μ.)

Olympus µ(mju:) Zoom 140

This camera came to me in a camera swap with Peggy Anne, who writes the Camera Go Camera blog. I feature her film-camera experience reports all the time in my Saturday Recommended Reading posts. I sent her my Olympus 35RC in exchange.

Olympus µ(mju:) Zoom 140

The Zoom 140 is as fully featured as you’d expect from any Stylus or µ camera. It begins with a 38-140mm f/4-11 lens, of 10 elements in 8 groups. It reads the DX code on the film canister to set ISO from 50 to 3200. It automatically focuses using an phase-detection system, advanced for its time and a first among µ/Stylus cameras. It also automatically sets exposure, as you’d expect; you can choose between a three-zone pattern or spot metering. The built-in flash is on by default, although it fires only when the camera needs more light. You can turn it off or set it to any of five other modes, including red eye and fill. The Zoom 140 includes a self-timer and — very nice for my aging eyes — a viewfinder dioptric correction dial. It really brought subjects into crisp view. The camera is also weather resistant; a little light rain won’t harm it. A CR123A battery powers everything.

Olympus µ(mju:) Zoom 140

I’ve been a black-and-white mood lately, so I loaded some Fomapan 200. Film loading is automatic: stretch the film across to the takeup spool and close the door. The camera takes it from there, winding to the first frame, advancing the film when you press the shutter button, and rewinding the film at the end.

I went to some of my usual haunts with the Zoom 140, including Washington Park North Cemetery.

Roman numerals

Little point-and-shoot cameras are great for walking-around photography, especially when they pack a lens as sharp and contrasty as this one.

Fountain before the fire department

The Zoom 140 was good at recognizing what I meant the subject to be. For distant subjects it brought everything into focus; for close subjects, it tried its best to create a blurred background.

Proclaim Liberty

Typical of always-on flashes, the Zoom 140’s flash sometimes fired when I preferred it didn’t. And typical of zoom point-and-shoots, the lens goes soft at maximum zoom, as the photo below shows.

Chunky SUV

Back it off maximum and the lens just keeps delivering. This is a camera worth getting to know much better.

Church entrance

I took the Zoom 140 with me on my bike ride up the Michigan Road. This is where I found the camera’s chunkiness to be a problem: it simply would not fit into the back pocket of my jeans. So I switched to cargo shorts and slipped it into a side pocket.

School No. 7

Zoom lenses are wonderful on road trips. It’s not always practical to cross a busy road to get near a subject. The zoom lens does the walking.

Discount Tire

But the versatile Zoom 140 knows how to play any game I have in mind. Documentary photography from a distance? Absolutely. Something more creative? Well, sure! If I didn’t know better, from the test roll’s results I’d say the camera was reading my mind on each shot.

Reflective Posts

Would you guess this scene is in the city of Indianapolis? I photographed this just a short distance off Michigan Road in Augusta, a former town.

Horses in Augusta

Finally, one Saturday morning I awoke to interesting light outside my bedroom window. I grabbed the Zoom 140 and stepped into the yard in my sleeping clothes to try to capture it.

Sunlight on the fence

To see more photos from this camera, check out my Olympus μ[mju:] Zoom 140 gallery.

Olympus made a bunch of models in its μ/Stylus series. After shooting several of them, I feel sure all of them must boast very nice lenses. If you’re looking for a capable point-and-shoot 35mm camera, try a μ/Stylus — any μ/Stylus.

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Camera Reviews, Film Photography

Kodak Retina Automatic III

Automatic exposure control on a Kodak Retina? You bet, and it was about time. Yet some of the Retina cognoscenti look down their snoots at these, the Retina Automatics. They decry the whole series as a cheapening of the line.

Kodak Retina Automatic III

Kodak produced Retina Automatics in its German factory from 1960 to 1963. The Automatic III, which debuted in early 1961, sat atop the line and featured a coupled rangefinder. It also packs a four-element 45mm f/2.8 Schneider-Kreuznach Retina-Xenar lens set in a Compur leaf shutter that operates from 1/30 to 1/500 second. The Automatic II was largely the same but for lacking a rangefinder. The Automatic I was further decontented, stepping down to a lesser lens and shutter.

Kodak Retina Automatic III

Through the 1950s, photographers aspired to well-made rangefinder cameras. The Retina was Kodak’s entry into that competitive market. But by 1960 the 35mm SLR was supplanting the rangefinder camera atop the heap of aspiration. Kodak surely added automatic exposure to the Retina as a way to keep photographers buying just a little bit longer.

Kodak Retina Automatic III

The Automatics’ usage is a little wonky compared to the modern autoexposure standard, but I expect that 1961 buyers weren’t bothered as such things were yet far from settled. There is no in-viewfinder exposure display — it’s only on the top plate. Having to move the camera away from your eye to check aperture is a pain. Fortunately, the Automatics won’t let you fire the shutter when it can’t get good exposure at the selected shutter speed. So you only need to check the aperture when you’re concerned about depth of field. These are also shutter-priority cameras, which feels odd today when aperture-priority autoexposure clearly won that battle (but, of course, lost to programmed autoexposure).

If you don’t like messing with any of it you can set exposure the old-fashioned manual way — this is a fully mechanical camera, after all. Given that these all use selenium exposure meters (made by Gossen; look for the name embossed in the glass), your chance is better than even that the meter has given up anyway. When buying a camera with a selenium meter, look for one that’s always been stored in darkness or with its meter covered. It increases your chance of success. This Automatic III was so stored, and its meter reads accurately enough.

That said, when my test roll (Kodak Gold 200) came back from the processor I ended up reducing exposure in Photoshop by a half stop on most images, as super sunny summer days washed things out. I blame the blisteringly bright days because I shot two other rolls of color film in other cameras at about the same time and got similar results from all of them. Regardless, this was a perfectly pleasant and functional Retina.

On 116th St.

This camera’s design is common to German camera makers of the time, down to the giant, knurled shutter button perched aside the lens board. I haven’t enjoyed using those on other cameras for being awkward to reach and having too much travel, but this one was fine on both counts. It operated smoothly, too.

Under construction

Downtown Fishers, Indiana, is heavily under construction. I wonder if 20 years from now someone will come upon this post and be astonished by seeing these then-stalwart buildings unfinished.

Under construction

This was a perfectly delightful camera to take on a photo walk, even though I carried it in my hands the whole time. (I left the leatherette case, to which a strap is attached, at home. I find them to be cumbersome, and so use them only for storage.) And as downtown Fishers transforms from sleepy little village of single-story homes into a modern, dense city center, there’s always something new to see when a camera is in my hand.

Apartments

I’ve always lived in well-established cities with all of their problems. I admit to a little prejudice against shiny, new cities like Fishers, flush with tax revenue from its upper-middle-class residents. It’s easy to build to a grand vision with that kind of money. Given how many of those residents choke I-69 each morning on their drive to work in well-established Indianapolis, I wish some of their taxes went to restore the crumbling infrastructure of the city whose existence frankly allows Fishers to thrive.

Flowers

Oh! Sorry, this is a camera review, not a screed against wealthy suburbs. Let’s move from Fishers to my Indianapolis front yard and its blooming garden. My gardens are no longer blooming, so it’s nice to see this image from just a few weeks ago as blooms were still popping.

Coneflowers

Any Kodak Retina is a reasonable camera to use in this modern age simply because the lenses are so wonderful and the usage isn’t too complicated. One, maybe two test rolls are all you need to learn any Retina and then make great images forever.

Lilies

What it is about Retinas that make me want to use them to shoot family gatherings? For the most part I use only auto-everything cameras for such duties because they’re fast and easy to use. But every time I have film in a Retina I seem to get it out when the family is around. Someday I’m going to learn to choose slower shutter speeds and smaller apertures so I get enough depth of field to cover my focusing sins, as in this photo. There’s my wife Margaret and my son Garrett, who does not look rapt as Margaret weaves her tale.

Grilling out

I focused better for this photo. There’s my son Damion and my dad, who is taking his turn telling a story, as Margaret listens.

Grilling out

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

Just as I shook my fist at wealthy suburbs, I also shake my fist at anyone who looks down upon these autoexposure Retinas. They’re fine cameras. And they go for very little compared to the better-known folding Retinas. I got mine for under $40 shipped. A Retina Automatic is a fine way to dip your toes into the Retina waters. If you do, I wager you’ll like it and buy more Retinas.

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Camera Reviews, Film Photography

Argus C3

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The third time, as they say, was a charm. I didn’t get on well with my first two Argus C3s. The first one chewed up my film pretty badly. I had trouble getting accurate focus with the second and something was wrong with my film. Meet my third C3, with which everything finally went well.

Argus C3

Argus manufactured C3s from 1939 to 1966, taking a couple years off during the war. The state of the camera art changed a lot during those 27 years, but demand remained for a capable and relatively inexpensive 35mm camera. So Argus kept on, but made little changes here and there over the years. The features and trim bits present and absent on mine say it’s an early postwar camera, but the serial number (187019) pins it down to 1947. More here if you’re interested.

Argus C3

Using a C3 is just nonstandard enough that I’ll explain it. Film loads right to left. To wind you have to move that little hexagonal knob to the left, start turning the winder, release the knob, and then wind until it stops. You set aperture on the lens barrel by pressing your finger into one of the two pips and rotating the dial. My C3 has an accessory lever fitted to make that easier. To set shutter speed, turn the dial on the camera face next to the viewfinder. To focus, look through the rangefinder, which is the round hole on the right. It’s a split screen; turn the lens barrel until the subject lines up in the top and bottom windows. Then you move your eye to the left hole, the viewfinder, to frame. Push down the black lever on the front to cock the shutter, and then press the shutter button.

Argus C3

My C3 has seven shutter speeds from 1/10 to 1/300 sec., copuled with a 50mm f/3.5 Argus Coated Cintar lens. It uses the standard f/3.5, 4, 5.6, 8, 11, 16 aperture scale. One of the things I didn’t like about my first C3, just a year older than this one, was its odd scale that moved from f/5.6 to f/9, 12.7, and 18. My light meter didn’t support those f stops, so I had to do some guessing. It was nice not to have to mess with that on this C3.

I loaded some Fujicolor 200 into the C3 and metered with an app on my iPhone. Quickly I discovered that ISO 200 film was a little too fast for the blazingly bright day on which I shot this roll, given that the fastest shutter speed and minimum aperture are 1/300 sec. at f/16. You’d think that’d be right enough given the Sunny 16 rule, but my meter kept wanting me to close down one more stop. Fortunately my film’s exposure latitude was wide enough that it didn’t matter much that I was slightly overexposing. The shots were usable as scanned, but I made them all a little better by reducing exposure by a half stop in Photoshop.

Scratch Kitchen

The C3 handled as C3s do, which is to say clumsily. Focusing is stiff. The rangefinder is tiny and hard to see through. The viewfinder is pretty tiny, too, but at least it’s bright. The camera’s strong spot is its strong, sure shutter, which fires with a crisp snap and a ping.

Flowers

I take a lot of photos now of downtown Fishers, Indiana, since that’s where I work. Just five years ago downtown wasn’t much: a few older buildings plus a lot of little houses. The houses are systematically being demolished in favor of apartments, office buildings, and shops. Come, modern urban density. For the time being, the old Nickel Plate tracks pass through Fishers. The city wants to tear them out and make a trail out of the railbed.

Xing

I shot this from the balcony of the building in which I work. A little house used to stand where the mound of dirt is. I hear an apartment building is going up there and will soon block the view of the restaurant beyond.

Parking Lot

I guess they’re going to build right onto what is now our parking lot, and we will all have to park in this garage.

Garage Under Construction

Honestly, given my poor experience with my previous C3s I didn’t expect much from this one and didn’t take great care in choosing or framing subjects. So naturally, the shots all look great.

Fire Station

I did take the C3 into the shade to see what I would get. That let me back off f/16, though not by much, just down to f/8.

Patio

I even tried one quick throwaway shot at my desk, inside. I don’t remember what my exposure settings were but I’ll bet they were something like 1/30 sec. at f/3.5. It reveals a tiny bit of creamy bokeh in the background.

At my desk

The coated Cintar surprised me with the subtlety and detail it can capture. I’ve seen it in photos others have shot with their C3s, but there’s just something about experiencing it yourself.

Back yard late light

To see more photos from all the C3s I’ve owned, check out my Argus C3 gallery.

Now that I’ve had a positive experience with a C3, I see why these were popular. It was a lot of camera for the money. Once you got past its quirky usage, you could take lovely photographs. I imagine these were heavily used to make color slides back in the day. The Cintar lens probably made slide film just sing.

Even though I’m happy to finally have had a good experience with a C3, I’m not in love. If I shoot this camera again I’ll try ISO 100 film, or even ISO 50. But more likely, I’ll sell it and the other two C3s I still own.

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Photography

Kodak EasyShare C613 Zoom

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Inexpensive cameras were crap during my 1970s kidhood and only slightly better during my 1980s teenagerhood. A basic new camera could be had for under $25, but most of them had limited utility and were cheaply made. A camera my dad gave me as a gift was typical, boasting a plastic lens and a camera-shaking stiff shutter. I recorded hundreds of childhood memories with it, but most of the prints are blurry.

By the mid 2000s you could get an entry-level digital camera for about the same money, adjusted for inflation, which works out to about a hundred bucks. And that’s what I paid for this Kodak EasyShare C613 Zoom when I bought it as a gift for my youngest son.

Kodak EasyShare C613

This camera was introduced in 2007, the same year as the iPhone. That first iPhone’s camera couldn’t hold a candle to this Kodak, but as we all know smartphone cameras soon became good, even brilliant in some ways, and put an end to the entry-level digital camera. While there is no substitute for a wafer-thin camera that’s always with you and connects seamlessly to social media, I do regret the loss of Kodak’s digital camera business. You see, no other camera maker renders color as appealing as Kodak. Oh, I know appeal is subjective. Hang in there with me; photos from this camera follow. You’ll see.

Kodak EasyShare C613

On the surface there isn’t much to the C613. You get a few modes, 3x optical zoom, and built-in automatic flash. It’s meant not to confuse the casual snapshooter. That’s definitely what my youngest son was when I bought it for him. But it’s been a reliable performer all these years.

Kodak EasyShare C613

The 6-megapixel C613 packs a 36-108mm f/2.7-4.8 Kodak AF Optical Aspheric lens. (If you’re a Millennial or younger, you’re probably chuckling that this lens is Kodak AF.) Most users probably just left the C613 on Auto, but this camera also offers an image-stabilization mode, a macro mode, and a host of scene modes such as snow, beach, and sports. It also takes 640×480 QuickTime video. If you dig into the menu, you’ll find a surprising amount of control including the ability to set ISO (80, 100, 200, 400, 1250); adjust white balance; choose among multi-pattern, center-weighted, and spot metering; and choose multi- or center-zone autofocus. The C613 stores images on an SD card, but also offers limited built-in storage. Two AA batteries power it.

In 2009 I borrowed this camera from my son for a day. My church had a concert in its parking lot and I was on the crew. I wanted to photograph the event in spare moments, but my comparatively bulky Kodak Z730 wouldn’t fit into any of my pockets. My son’s svelte C613 did, though.

And then wow, did this little camera perform! It delivered excellent sharpness and candylike color. This is Nancy, who organized and hosted the event.

Praise and Music Festival

We rented this stage. The C613’s lens was probably at its widest angle, 36mm equivalent, which added good drama to my easy camera angle.

Praise and Music Festival

In spare moments I pretended to be a concert photographer, even though I’m sure I looked ridiculous with this little plastic camera. This bassist went along with the charade, deliberately posing for me as he casually fingered his instrument.

Praise and Music Festival

That concert was a remarkable experience for reasons that have nothing to do with the C613. I told that story here.

Eight years on my youngest son is preparing to leave for college and I’m preparing to move in with my new wife. These big transitions for both of us made it necessary to clean out his childhood room. We sorted his things into three piles: keepers, things to donate, and things to pitch. He put the C613 onto the donate pile, thanks to a capable camera on his Android phone.

I palmed this little camera and later installed a spare SD card and fresh batteries. I first photographed flowers in my yard. I love macro photography. But the C613 often struggles to focus in macro mode, especially when the lens is at all zoomed. I frequently had to do a little dance with the C613, repeatedly adjusting framing and pressing the shutter button halfway in hopes the autofocus system could grab onto something. Sometimes it simply wouldn’t. And of course you have no control over depth of field. But when it manages to focus, it does reasonable work.

Basket o' flowers

The autofocus system works best on high-contrast subjects, like this yellow flower on a dark green background.

Yellow

Most of the time I shot the C613 at the wide end of its zoom range simply because that’s where it goes when you turn it on. 36mm is a great focal length for everyday walk-around photography. Or drive-around photography, as is the case in this photograph.

Wrecks

But shooting wide reveals the C613’s fatal flaw: barrel distortion, gobs of it. These two photos are certainly not interesting in and of themselves, but the first shot shows this barrel distortion well. The second shot shows it corrected, which I did easily enough in Photoshop: open the RAW editor, set distortion to 14, set scale to 104%. At 36mm, those settings worked every time.

Window awaiting painting Window awaiting painting

That distortion goes away more the farther out you zoom. None is evident on this max-zoom (108mm) photo off my deck.

Back yard

I checked the flash’s performance in a few photos. It appears, appropriately, to be optimized for shots across a room in your house, such as of your kid on his birthday. This photo of my Kodak Monitor is about as close as you dare get when using flash. Any closer and the flash washes out the subject and creates a spotlight effect. This post is already too long or I’d show you that flash also did a good job illuminating a shadowy close-up subject against a well-lit background. The C613 sets flash to “auto” every time you turn on the camera and guesses when flash is needed. Sometimes the C613 guesses well, other times not. More than once I shot a scene twice because the C613 thought I needed flash when I really didn’t.

Monitor

I did take these recent photos into Photoshop to correct distortion, fix little exposure sins, and tweak color to my liking. But every one of the photos I’m sharing here were plenty usable right out of the camera. The concert photos far above had no post-processing and look great.

View through the hosta

This shot of the oak in my front yard is my favorite from my test. Sure, I had to notice this scene and the subtle light play to be able to photograph it. But the C613 captured it well.

Oak

You can see more shots from this camera in my Kodak EasyShare C613 Zoom gallery.

The C613 a passable little digicam. It’s not perfect — on top of the barrel distortion and fussy macro-mode autoexposure, the screen washes out entirely in direct sun and its color fidelity is terrible, so you are never sure you got the shot. But compared to any camera of this inflation-adjusted price class forty or even thirty years ago it’s a stunning performer. I would have died and gone to heaven as a kid for a camera this good at this inflation-adjusted price.

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Camera Reviews, Film Photography

Pentax Spotmatic F

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At last: open-aperture metering on a Pentax Spotmatic.

It’s not like stop-down metering is hard. It’s just an extra step, and a quick one: flip the switch. Yet to be free of it! Exposure information in the viewfinder at all times! This feeling of ease makes the Spotmatic F more compelling than any stop-down Spotmatic that preceded it.

Pentax Spotmatic F

Introduced in 1973, the Spotmatic F retained the original 1964 Spotmatic’s chassis. I expect the works are the same, too, except for changes enabling open-aperture metering. To power that meter the SPF got a bigger, more powerful battery: the dreaded, banned PX625 mercury cell. (Earlier Spotmatics used a battery that isn’t made anymore, though other special-order batteries can be adapted to fit.) But that’s not all bad, as highly available alkaline 625 cells fit and work fine despite delivering a little less juice (0.2 volts, to be precise) because Pentax added a bridge circuit to adjust voltage. It’s the only Spotmatic so equipped.

Pentax Spotmatic F

Well-known Pentax repairman Eric Hendrickson cleaned, lubed, and adjusted this SPF, so it works like new. And it may well have been essentially new, serving briefly as a sales demonstrator before falling into the hands of a Pentax employee who kept it without, it seems, ever using it.

Pentax Spotmatic F

The SPF is a 35mm SLR with a cloth focal-plane shutter that operates from 1 to 1/1000 sec., with flash sync at 1/60 sec. The SPF takes M42 screw-mount lenses, but open-aperture metering works only with SMC Takumar and Super-Multi-Coated Takumar lenses, which have a pin that lets the camera read the selected aperture. With those lenses, the stop-down lever (on the right of the lens barrel) provides depth-of-field preview.

SPF_TTL

Inside the viewfinder. Meter needle at right. When it’s horizontal, you have accurate exposure.

The SPF meters through the lens using a CdS cell and a match-needle system in the viewfinder; it accepts films from ISO 20 to 3200. There’s no on/off switch, but at and below 2 EV the meter deactivates. Keeping the lens capped effectively turns the camera off.

The focusing screen includes a microprism patch. You twist the focus ring until everything looks sharp and the patch stops shimmering. The older I get the harder it is to see the shimmer, and so I prefer split-image focusing screens. This is the only serious thing I wish were different about the SPF, because otherwise mine is just a joy to shoot.

This SPF came to me with a 35mm f/3.5 Super-Multi-Coated Takumar lens. I love 35mm for everyday walking-around photography! Confident in my just-serviced camera I skipped over the inexpensive films with which I normally test cameras and loaded a roll of Ektar.

I took the SPF to Nashville, Indiana, where I attended a conference. My day was pretty packed, but I slipped away at lunch for some photography.

Nashville, IN

35mm lenses are just made for walking around and capturing scenery, of which there is plenty in Nashville. And this Takumar is sharp and renders color well.

Nashville, IN

Downtown Nashville is all little shops and restaurants. It’s a fun day out, easily reached from Indianapolis.

Madeline's

Nooks and crannies throughout Nashville provide plenty of interesting subjects.

Confusing Temptation with Opportunity

On a sunnier day I visited the cemetery near my house. This monument went up in the last year or so but I’ve already shot it many times. The Ektar handled the brown well.

Roman numerals

But wait…what’s that? Up there, in the trees? A little bokeh?

At Washington Park North

Yes, and it’s interesting bokeh, a constellation of little points. If only the subject (those leaves) was more interesting.

Bokeh

I walked through the neighborhood one afternoon with the SPF. This isn’t a neighborhood of picket fences, this one neighbor notwithstanding.

Picketing

Another neighbor recently started parking this mid-1970s Ford Thunderbird curbside. It’s not plated. In a tonier neighborhood the HOA would be all over this Bird’s owner like stink on a garbage truck. Here, we have no HOA. His car can sit there for as long as it wants.

Thunderbird

A lonesome highway makes a pretty good subject.

Old 52

To see more photographs, check out my Pentax Spotmatic F gallery.

I waited until the end to say that the Spotmatic F is essentially the same camera as the 1976 Pentax K1000, except the K1000 uses the then-new K bayonet lens mount. Every other SPF review says that up front and I didn’t want to be tiresome. But I’m mentioning it now because I’ve owned a few K1000s, fine and competent cameras the lot. But I experienced real joy shooting this SPF, a feeling I’ve found elusive with any K1000.

Perhaps some of that joy comes from my SPF’s like-new condition. Buttery operation never fails to impress. But most of it comes from an indescribable quality, something special that got lost in the K-mount translation. If you know your way around apertures and shutter speeds and want to break into film SLRs, just get a Spotmatic F. Pair it with the astonishing 55mm f/1.8 SMC Takumar lens and you’ll never fail to have great fun.

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Photography

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.

Pink

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.

Playground

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.

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