Uncle Jonesy's Cameras Podcast #84: Shoot Film Save Money

by Kevin Lane

I actually snickered as I thought up the title of UJC Podcast #84. After all, I can remember all the way back to the early 1980's when I bought my first 35mm film camera (a Minolta XG-1 with a Rokkor 45mm f2 lens) how camera store sales people routinely reminded customers that "photography was an expensive hobby. Things haven't changed much since then, given the prices of today's mirrorless and DSLR cameras and associated gear. I am aware that if the prices of film cameras back in the 1980's are adjusted to reflect inflation, they likely would be priced similarly. And then there's all the film you would need to feed your camera with. Those sales people were right. Photography is an expensive hobby.

However, it is possible these days to save money by shooting film. After all, most of the vintage film cameras we shoot today can be purchased at much less than what they would be if they were new, and film, while more expensive than it once was, still remains a good value when the prices are adjusted for inflation. Throw in the saving you could have by self-developing your film and either making scans or prints in the darkroom or with an inkjet printer, and you could make photography a much less expensive hobby than it was back in the day.

Yet, for most of us, photography of any sort is non-essential expense. A luxury really, if you consider it. Those of us with tight budgets should be open to ways to shoot film and yet save money, no matter how unlikely that sounds. And by "ways to shoot film and yet save money," I'm not talking about the obvious idea of selling expensive gear and using cheaper gear, nor do I mean shooting cheaper film. Wayne, who suggested this topic and crafted the talking points that made their way into UJC Podcast #84, suggests some excellent ideas on how modifying our shooting habits can result in reducing costs. I've got a feeling that they also could make us better photographers as well. I hope Wayne's ideas are of benefit to you. You can find Wayne outline below.

Show #84 actually begins with a recap of a truly monumental experience Wayne and I had earlier this month, The Great Film Photo Meetup. A group of twenty-five film photographers from no less than seven states gathered in Chattanooga, Tennessee on 9-10 August for a weekend of scenic photography and conversation, and much was fun was had by all. The event was successful in every way, and it likely will happen again at another location in 2026. Stay tuned.

Here are four images that Wayne made with his Noblex 6/150 panoramic camera and printed in his home darkroom. 

Lastly, listener Ryan is in an ongoing quest to adapt an LED light source to his enlarger, and he has an update to share with us. Thanks to Ryan for taking the time to write to us. Listener feedback like his keep Wayne and I motivated to keep making more podcast shows, and we would love to hear from you. If you have made it this far in reading the show notes, you likely have something to say to us that could benefit our listeners and make our show better. You can reach us at unclejonesyscameras@gmail.com, or you can post comments on our on Facebook and Instagram pages. 

Until next time, Happy Photography!

How To Make Your Photographic Dollar Go Further:

Take Fewer, But Better, Pictures

1. Be One with your gear
1. Be comfortable with the operation of your camera
1. Know where all controls are, and how to adjust them without looking
2. Know how to properly load and unload film
2. Know the abilities and limitations of your lenses
1. Field of view
2. Perspective
3. Sharpness
4. Contrast
5. Vignetting
6. Quality of out of focus area

2. Photograph with intent
1. Slow Down

“When I wait and look and listen I make different photographs than when I scurry around looking and searching with a proactive approach.” ~Brooks Jensen

2. Look, Explore, Respond, Detach
1. Look, but don’t search: Keep an open eye, and mind

“When I wait and look and listen, I make different photographs than when I scurry around looking and searching with a proactive approach.” ~Brooks Jensen

1. Take a few minutes to get a feel for the place
2. What grabs you attention
3. Look around some more
1. Explore: Look at your subject from all angles

“I just walk around, observing the subject from various angles until the picture elements arrange themselves into a composition that pleases my eye.” ~Andre Kertesz 

“The first impression of a new subject is not necessary the best. Seen from a different angle or under different condition it might look even better. ~”Andreas Feininger

3. Respond:
1. Where does the camera need to be (think three-dimensionally)
2. What lens do you need for the composition and perspective you want
3. Is the light right 
4. Are there distracting elements
4. Detach: Try to separate from your initial emotional response and look objectively
1. Don’t feel invested in a shot
2. If something just isn’t working, ask yourself why
3. Can you “fix” it?
4. Can you return under better conditions?
5. Don’t feel obligated to photograph

3. III.Be proficient in the craft
1. Get to know your film 
1. Sharpness
2. Contrast
3. Grain
4. Reciprocity failure
5. How they handle push and pull developing 
2. Processing
1. Find your “go-to” developer
2. Special purpose developers
3. Be consistent

4. IV.Review
1. Good photographs are seen in the mind's eye before the shutter is tripped, but they are made in the darkroom. For it is the final stage of photography -in the production of negative and print- that the creative vision is realized in a picture meant to be looked at, admired, perhaps honored.  ~Anonymous 

To convey in the print the feeling you experienced when you exposed your film - to walk out of the darkroom and say: "This is it, the equivalent of what I saw and felt!". That's what it's all about.  ~John Sexton

2. Let your prints/scans “age” a week or to and look at them with a critical eye
3. Re-print/process ones that you feel can be improved

Uncle Jonesy's Cameras #83: The Great Film Photo Meetup

What happens when you get a bunch of film photography podcasters and YouTubers together? You can find out on Saturday and Sunday, August 9-10 in Chattanooga, Tennessee when Mike Gutterman and Mike Kukavica (Negative Positives Film Photography Podcast), Joe Pollock and Clayton Sharp (Joe, Clayton, and Mike Make a Film Photography Podcast), Bill Maning (Studio C-41), Dave Mihaly (The Old Camera Guy) Billy Sanford (O Me! O Life!) join Wayne and Kevin gather together for two days of film photography fun! And gues what?! You are invited too! Yes, this is your opportunity to meet, greet, and photograph with your favorite film photography podcasters (you've heard of us, right?). Of course you have!

We will meet together on Saturday, August 9 at 10:00 am in front of the Tennessee Aquarium at the north end of Broad Street to begin our photowalk, then we'll break for lunch at 1:30 pm. Next, you're invited to see a darkroom printing demonstration at Safelight Community Darkroom, followed by drinks and socializing at one of Chattanooga's brew pubs.

On Sunday, August 10, Wayne will lead everyone in a nature photowalk at Laurel Snow State Natural Area near Dayton, Tennessee beginning at 10;00 am. 

We all like to use our film cameras, but that doesn't mean you have to. Digital cameras are more than welcome! 

You find more information about The Great Photo Meetup on Facebook and Photowalk.me. 

We'll see you in Chattanooga! Happy Photography!

Uncle Jonesy's Cameras Podcast #82: Triptych the Light Fantastic

 by Kevin Lane

Welcome to the show notes for UJC Podcast #82. I will never be able to fully express my gratitude to you listeners for taking the time to download and listen to our show. And now that you made the extra effort to check out our show notes, I am overjoyed indeed. You are truly super fans! 

The first part of our show features me discussing my obsession with the Debonair 120 medium format camera from the Film Photography Store. I've been happy owner of one for about seven years. I am not really able to explain why I would want to use a cheap plastic 'toy' camera for something that might become an 'art' project. Is it because I am highly impressionable by other photographers, or is it because I highly value the element of fun. It's probably a combination of both that has motivated me to load up my Debonair 120 Plastic Filmtastic camera and head out in search of decrepit decaying business signs. Here is the best explanation I can offer.

I took only one camera and only black and white film with me on my recent first time visit to southern California, only to be pleasantly surprised by the abundance of color - the colorfully flowering plants, shrubs, and even trees (the jacaranda trees were amazing!) as well as the brightly colored bungalows and and sSpanish colonial architecture. I had told myself that my iPhone would be adequate for color photography (and I did take a few pictures with it), but I soon regretted not taking a second camera. I could have shot a lot of color film on this trip. 

It soon occurred to me that a really good compact camera would be the perfect camera for this type of photography, and that's when I began thinking of the newly released Pentax 17 35mm half frame camera. It has uto exposure, a sharp glass lens, and seven-two shots per roll, and it's small enough to fit in a jacket pocket or a small bag. Sounds like a perfect travel camera to me. 

Honestly, I could not see a place in my bag for the Pentax 17 when is was first announced. However, thanks to the work of a certain Andrew Bartrum, I became quite intrigued by what it can do. Andrew enjoys using the camera to make prints from two images in a single 35mm full frame. The two images are related somehow and serve to tell a story. In other words, a diptych. The two half frames are vertical format-wise, and that's how the camera is set up to shoot. Andrew's photography with this camera never ceases to amazing me. However, at $500,  the camera is not cheap. and honestly, my Minolta AF2 with its compact size, autofocus, auto exposure, and sharp glass lens would have been a perfect choice for my California trip. I only losing the half frame option, so no diptychs.

Then I remembered Wayne talking about his newly acquired Fuji GS645, a medium format camera that makes 6x4.5cm vertical format frames (you can hear Wayne discuss this camera on UJC show #81). He half-jokingly remarked that it could be his 'half frame medium format camera.' And that got me thinking about my Debonair 120, which also makes vertical 6x4.5cm frames on medium format film (about the only thing it as in common with the Fuji GS645). So I found some negatives that I had shot with the Debonair and laid them on the back of a 4x6 inch postcard print and found that I could contact print three frames on it. Never mind a diptych; I could make triptychs!

To follow through on a proof of concept, I cut a mask out of black card stock. The rectangular opening in the mask was large enough for three 6x4.5 negative frames to show. Then I went to the darkroom and made some test prints of my decaying business signs images. You can see by the prints below that the concept actually works fine. I will reshoot the images with a little more care regarding composition and lighting, but tis little piece of photographic plastic gets the job done.

You can see the cool things Andrew Bartrum's really cool diptych work with his Pentax 17 half frame camera by visiting his Instagram page at @warboyssnapper.

Much of the rest of our UJC Podcast #82 is all about listener feedback, and there were some really good questions and suggestions from our faithful listeners. One of them involved testing to see if your darkroom's safelight is really safe. As he has done with countless other aspects of film photography, Gregory Davis presents a precise method of testing your safelight You can see his YouTube video here.

Finally, a group of fellow film photography podcasters are getting together for a photowalk in my hometown of Chattanooga on Saturday and Sunday, August 9-10, and you are invited to join us!. You can find all the details here.

As always, we love hearing from our listeners. You can email us at unclejonesyscameras@gmail.com. You can also follow us on Facebook and Instagram and leave your feedback there. 

Happy Photography!

I’m Going to California! (So Which Meter Do I Take?)

In a few days from now I will be visiting California, a state I’ve never before visited. I am amused by the reactions I get from people to whom I share this news. “Why on earth would you go to California? 

This is typical of what I hear, and I don’t have to wonder why. People in my part of the country have decidedly negative bias against what is would be like to live there. Whatever. I don’t care what anyone thinks about it; I’ve always wanted to go there. It’s a big state, and there are many beautiful places in it. I’m only there for five nights, so I will experience only a very small portion of what it offers. However, I love travel anyway, and I am very exited.

So, of course I’ve been thinking about the photography I hope to make there and what gear I should bring. Actually, I didn’t have to much thinking. In fact, I had one camera in mind from the moment I first made plans to go. My Leica M2, of course. Six days on the go in a state across the country? The Leica M was made for this. And I chose the M2 specifically for a reason:  the three frame lines - 35, 50, an 90mm. I don’t have a 90mm lens (and have no plans to get one), but I do have the other two, and they both are Leica lenses. Perfect!

My recently acquired M2 with the 50mm f2 Summicron collapsable
that came with it and my 35mm Elmar f3.5 LTM with Leica-made
adapter. Why wouldn’t this be my travel kit?

“But wouldn’t you rather have an SLR with a built-in meter?” 

Sure, I get what you’re saying, and I love my Minolta SLRs. However, the Leica is smaller, more compact, and easy to use for a fully mechanical (yes, it’s even easy to load if you know how.) Also, the lenses are much smaller than my SLR equivalents, and the M mount makes changing easy. 

“But what about the a light meter?!” 

No problem. I have a light meter for my M2. In fact, I have two of them. And the only problem I have with them is that I have to choose between them (l could take them both, actually, as they are so small, but I really only need one). Both of my meters are of the shoe mount variety, a type of product that has seen a lot of interest from photography accessories makers lately. An online search will turn up quite a few of them. One of my meters came from this current resurgence, the AstriHori AH-M1.

It’s well made, very small, and reasonably easy to use. I one I have is the second one I’ve owned. I sold the first one about a year ago and immediately regretted it. Fortunately, another one came to me by way of a friend and fellow Chattanooga film photographer. 

AstriHori AH-M1 (L) and Leicameter MR

From the front . . .

. . . and from the top.

My other shoe mount light meter is not from the current crop. In fact, it is as old as my Leica M2 itself. You might even say that it was made to be used with my camera. Obviously, I’m talking about the Leicameter MR, which Leitz produced from 1965 to 1967. The Leicameter MR came with my M2 when I purchased it earlier this year, but I have used it very little since then, opting instead for the AstriHori AH-M1. Why? Two simple reasons:  First and foremost, I simply assumed that a light meter manufactured in the middle to late 1960’s could not possibly be accurate today. Second, the AstriHori AH-M1 is powered by an internal rechargeable nickel-cadmium battery, and the meter’s charging port is the ubiquitous USB-C. Plug it in at night, and I’m ready for another day of use. No need to carry batteries with me.

In addition to the advantages that a rechargeable battery brings, the AstriHori AH-M1 delivers its reading on an easy-to-read OLED screen on the top of the meter (I do wish it was on the back, but I have to look at the top of the M2 to set the aperture and shutter speed on the M2 anyway) . Once you have pressed the button on the back of the meter, a shutter speed and aperture combination appears. You can then turn a physical dial on top to scroll through various EV equivalents of the reading. Also, you can adjust a setting on the meter to allow for continuous reading after you press the button.I prefer to have the meter hold the reading it takes while I change setting on my camera. The meter also can be set to meter in either aperture or shutter priority. I am a decidedly aperture priority shooter, but it’s nice to have the option to use either. Pressing the button a certain way also allows you to change the ISO. And here I raise a disadvantage when using this meter. To change the settings that I mentioned above, you have to use distinct “button codes” (short-short, short-long, etc.) I’t a good idea to keep the tiny instructional leaflet in your camera bag or take a photo of it with your smartphone.

So far, it seems like a slam-dunk for the AstriHori, so why am I still considering the Leicameter MR? I have to admit that, while larger than the AstriHori, it does look good sitting atop my M2.

It definitely has that “Leica” look to it. But aside from looks, what is compelling about the MR? There are two answers to that question. First, the meter couple with the shutter dial on the M2. Here’s how it works. First, you set a desired shutter speed by rotating the dial on the MR. It is positioned above and coupled to the camera’s shutter speed dial, so rotating it changes the camera’s shutter speed. Then you look through the viewfinder with the camera pointed toward your subject and press a button on the left side of the meter. The light the meter reads moves a needle on the top of the meter to one of several silver or black zones around a circular dial, and it freezes the needle there when you release the button. On that side of the dial are the aperture settings, the aperture setting opposite the black or silver zone to which the needle pointed is the proper setting for the shutter speed you originally chose.If you want a different aperture setting, just rotate the wheel (which is also actually changing the shutter speed as you rotate it) until you get the aperture setting you want. 

And that’s when you realize that the Leicameter MR meters in shutter priority. Is this a bad thing? It was for me at first. However, the kind of photography I hope to do in California (dare I say it - Street Photogaphy?), it’s actually quite appropriate. After all, there is a lot of movement on the streets of Los Angeles and San Diego. However, if depth of field is more important to you, then simply the meter’s dial at f8 and smaller and shoot only stationary subjects or suggest motion by letting  your subjects blur themselves, if you like. 

Here’s something else you should know about the Leicameter MR. Unlike the AstriHori AH-M1, which meters reflected light with a 30º angle of view, the MR meters with a 21º angle of view, which just happens to be what you see in the viewfinder when you select the 90mm frame lines. It’s not quite a spot meter, but it is quite selective. I’ve already found that I don’t have to select the 90mm frame lines any more, as I know where they would be in the viewfinder. I must say that it is quite useful to know exactly what part of the frame your light meter is seeing.

“But what about the battery situation? Do you have a spare? And didn’t the Leicameter MR require 1.3v mercury batteries? What do you do about that?

No problem, I say! I already own an MR-9 battery adapter, which takes a 1.5v silver oxide SR43 (Energizer 386) button cell and reduces the voltage to the required 1.3. The Energizer 386 is sold at my local Ace Hardware store, so I have spares ready to go.

Ok, I can see you barely able  to control yourself, because you want to know if either of these light meters are accurate. Like I said at the beginning, I just assumed the the older Leicameter MR was not accurate, while my previous use of the AstriHori AH-M1 proved it to be reliable. So, I had to channel my inner Shutter Brother Wayne and conduct an old fashioned controlled test. So, I tested both meters in two different settings. The first was with each meter pressed firmly against a window that looks out over my condo parking lot. Both meters were tested in exactly the same position with no change in lighting. I also placed my Minolta X-700 SLR against the window glass in the exact same position (I have always found this camera’s meter to be spot on accuarate). All three meters were set to the same ISO, aperture, and shutter speed.

Next, I repeated the test using my LED light table, which the two meters and the X-700 placed in the same position. Since the brightness of my light table can be varied, I conducted the test at both the brightest and dimmest settings.

The results? Both the AstriHori and the Leicameter gave the readings that were not only consistent with each other, but also consistent with the Minolta X-700. I have to say that I was quite surprised and encouraged. I could use either meter and expect good results. 

So, which one will it be?

I’m currently shooting a test roll with the Leicameter MR, and i hope to develop it before leaving for California. If I’m pleased with the results, then the Leicameter MR will go with me. After all, it tested well - and it was built in Wetzler by Leitz. It probably cost a pretty penny when new. And the more I use it, the more I get used to the way it works.

But since the AstriHori is so small, maybe I’ll bring it, too. System backup, as they say at NASA.

Uncle Jonesy's Cameras Podcast #81: You Should Have Been There

By Kevin Lane

Once upon a time, there was at least one camera and photography shop in most every city and large town. If you had an interest in photography as a hobby or as a professional, the local camera shop was the place to check out the latest gear, stock up on film, have your film processed and printed, and even hang out with like-minded people. I can vividly remember going to the shopping mall with my parents and getting permission to walk over to the camera shop to hang out, even if I was in no position to actually buy anything. Later when I was older and independent, the local camera shop was rivaled only by the local record shop and the musical instrument shop. I spend hours hours hanging out looking at the cameras on the shelves and behind the glass cases. Finally when I had secured my first post-college full time teaching job, I went to Crown Camera in Atlanta to spend part of my first teacher paycheck on a brand new Minolta XG-1 and a 45mm f2 lens. And that was just the beginning, as I went through film and processing at an astounding rate. It was truly a magical time, and I can remember so much of it. All sadly gone now, however, unless you live in a major city.

Crown Camera on Piedmont Road in downtown Atlanta, where
Kelley and I purchased our first real cameras with our first teacher
Paycheck, September, 1980.

So when I met Wayne and learned that he not only worked in a camera shop but also owned one, I couldn't help pestering him with questions about the "good ol' days," and he has some great stories to tell. Part of Show #81 is dedicated to a trip down memory lane to the local camera shop, and I hope that it either brings back pleasant memories or impresses you as to what a magical time it was. Like many things these days, it's days have come a gone and will not return, but we can reminisce.

Meanwhile, summer is right around the corner, and that means making summer travel plans. I have to confess that my main reason in wanting a camera as a young adult was travel photography, and I simply could not get enough of photography magazines that featured articles on distant places and photographs that made me want to go there. I would easily have dropped everything I was doing and pursued a career as a travel photographer - if could convince myself that I had the talent. 

However, now I do get to travel more, and my camera always goes with me. In fact, next month I'm visiting California for the first time, so it's time to choose a camera and film. My choice? I'm taking a camera that I didn't have this time last year, my Leica M2. With both a 50mm and a 35mm lens, I think it's the perfect choice for photography on the move. I'll be shooting black and white film only, most likely Kodak Tri-X, and I couldn't be more excited.

My Leica M2 with 50mm f2 Summicron (collapsible) and Elmer 35mm f3.5 LTM with adapter. 
I'll use my AstroHori shoe mount meter, with rechargeable battery. Try-X is my go to 35mm film.

Meanwhile, Wayne has been trying out a new-to-him camera, the Fuji GS645 Professional Wide 60, which is a medium format rangefinder camera. As you probably know, Wayne likes his negatives to be as large as possible, so 6x4.5mm frames, while not as large as his Plaubel Makina 67 makes, are still significantly larger then 35mm frames. Wayne has already shot a test roll, and the experience was a very positive one. Could this be Wayne's new travel camera?

Could this be Wayne's next favorite travel camera?

The Fuji GS645 Professional Wide 60 makes crisp and large negatives  - just the way Wayne likes them.

We want to thank each and every one of you for listening to our podcast, and we would love to hear from you. Whether it be your current camera and film of choice, your favorite subject matter, your questions, comments, tips, or stories, we really enjoy the interaction between us and you. So, if you have a minute, please drop us a line at unclejonesyscameras@gmail.com. You can also follow us on Facebook and Instagram and leave your feedback there. 

Happy Photography!

Uncle Jonesy's Cameras Podcast #80: Everyday I Shoot the Book

 by Kevin Lane

Recently I was watching a YouTube video by a young film photographer named Robbie Maynard, whose channel I find both enjoyable and inspiring. In this particular video, Robbie relates finding a book of photographs by the American photographer, Robert Adams, titled Summer Nights, Walking in a thrift store  and how the book influenced him to go out in the late part of the day with his camera and make pictures that evoke some of the same emotions that Adams' book produces. As the video ended, I came away with two impressions. First, I definitely felt a connection with the photography of Robert Adams, so much so, in fact, that I immediate began to seek out and eventually purchase my own copy of Summer Nights, Walking. Additionally, I began to do research on Adams' life and work and found more connections with his art. I will be writing a blog post soon on how I am drawing inspiration from his life and work, but let's just say that he has a new fan.

The second impression i had from watching Robbie's video concerns the role that finely produced books of photography can play in the lives of photography enthusiasts like me. When I say 'finely produced,' I refer to books with faithful renderings of the original prints, printed on high quality paper, hardbound to last, with the entire process overseen (or at least approved by) the photographer responsible for the work itself. Such a book should in every way be a representation of how the photographer desired the public at large to not only view his or her work but also how to own it. Think of the original mono LP release of Sgt. Pepper's Lonely Club Band from 1967. If you are fortunate enough to own a copy, you are able to experience what The Beatles intended you to experience, from the sound of the music to the design of the jacket and sleeve, as they were involved with every aspect of this monumental record. 

For the photography enthusiasts who also is a photographer, photo books can be instrumental in how we grow as photographers. Of course, owning (or even simply viewing) photo books will not be as helpful as studying the photography itself and asking questions like, "What makes this a good photograph?' and "What does the photographer want me to take away from the photograph?" I have to confess here that I have not allowed photo books into my life as I would have. When I go to the local, I am most likely to look for a book about creative processes in photography. Maybe it's time to allow actual photography to inspire me and help me grow as a photographer, so I will be checking out more photo books going forward.

Furthermore, I am wondering about the possibility of a publishing a photo book of my own. After all, I have an Etsy shop where make my prints available for sale, although I rarely make a sale. Perhaps publishing my best photographs in book or zine form would make them more accessible to potential buyers. And then there is the idea of thinking in terms of a theme or project that eventually exists in book or zine form. I find that both appealing and motivating. What about you? 

And speaking of prints, we have some listeners who, like Wayne and I, love to spend time in the darkroom making prints. One of those listeners, Todd Barlow, also makes the effort to send small prints to me through the mail, and now i have a small collection of his photography, which makes me very happy. What better way to share your photography than by sending a print through the mail? I plan to do more of this in 2025.

These excellent darkroom prints were sent to Kevin by listeners Todd Barlow and Jason Priebe. 
Jason's is the one bottom row center.

And speaking of spending time in the darkroom, lately I booked a session at our Chattanooga community darkroom, Safelight District, for the purpose of revisiting some negatives that I had already printing but failed to make satisfactory prints. After some time and effort, I was able to make a print that represented what I intended when I snapped the shutter. This got me asking the question, "Why was I not able to get the prints right the first time?" My first thought was that perhaps I had to make a print, successful or not, so that I could work out exactly how a fine print should look. Another thought was that with some negatives, it simply takes time, perhaps a lot time, to arrive at a finished photograph. And sometimes even that doesn't work. Sometimes the subject itself has to be revisited. And let's not leave out a change in gear or film. 

This photograph from my recent trip to Old Car City near White,
Georgia, had to be 'revisited' before I arrived at this fine print.

This Minolta Maxxum XTsi could be yours.

Meanwhile, back to show #80. Have you heard that we're giving away a camera? It's true. I'm offering up my Minolta Maxxum XTsi 35mm SLR with a Minolta AF 35-70mm f4 zoom lens to a lucky listener, and all you have to do to have a chance to win is to send us an email to unclejonesyscameras@gmail.com. We will announce the winner on show #81.

Finally, Wayne and I have been given thought to possible locations for our 4th Annual Photowalk with the Shutter Brothers, and think we have decided on a great choice:  Fall Creek Falls State Park is one of Tennessee's most beloved state parks for good reason, with one of the grandest waterfalls in the state plus a number of cascades, streams, gorges, and stands of virgin forest. We're still working out the details, but it will be held on a Saturday in October 2025. Stay tuned.

As always, we greatly value the feedback we get from our listeners. You can enter the contest and/or send us comments, questions, tips, reviews, and stories to unclejonesyscameras@gmail.com.  You also can find us on Facebook and Instagram, and feel free to leave your feedback there. Until next time . . .

Happy Photography!

 

Uncle Jonesy's Cameras Podcast #79: A Tale of Two Adapters

The Shutter Brothers are back fresh from an early morning photowalk to Richey Ridge Falls (near Soddy Daisy, Tennessee) and are ready to share their recent experiences photographing both together and also with a group of fellow film photography podcasters at Old Car City in White, Georgia. Along the way, Wayne and Kevin disuss ideas for the 4th Annual Photowalk with the Shutter Brothers. It all starts with getting out with your camera ends with having a photograph to share. 

L to R: Mike Kukavica, Wayne, Matt Dunmore, Kevin, Joe Pollock, and Clayton Sharp at Old
Car City new White, Georgia. Photo by Wayne.

Ane speaking of sharing, Wayne is sharing some of his photography at the Annual Photography Exhibit & Competition at the Arts Center in Athens, Tennessee. The show is presented by the Athens Area Council for the Arts and runs from March 24 to May 30, 2025. If you live anywhere near East Tennessee, then make the trip to Athens to check out Wayne's work.

Now that Kevin has the Leica M2 he's wanted for so long, it didn't take long for him to think about adding a 35mm lens to his kit. Actually, he already has a Leica 35mm lens, but it is a screwmount Elmar f3.5. Can it be used with a Leica M camera? The answer is "yes," if you have a LTM to M mount adapter. Leica made them back in the day, and now they are made cheaply in China. But just how compatible are they. Find out in the show.

First, an inexpensive LTM to M mount adapter from China.

Next, an $80 adapter made by Leica.

Kevin's Elmar 35mm f3.5 mounted with the Chinese adapter. 
Note the position of the infinity lock at 6:00. When focused at
6 feet or closer, the lens loses contact with the rangefinder tab.

And here's the same lens mounted with the Leica adapter. Note
the position of the infinity lock. The infinity lock of Kevin's 
Sumicron 50mm f2 collapsible lens locks at the same position.

It's spring, and that means time for some de-cluttering. So, Kevin is giving away a camera! It's a fully functional Minolta Maxxum XTsi with a Minolta AF 35-70mm f4 zoom lens. It's the camera Kevin used for color photography on his Alaskan cruise last September, and now it can be yours. You can enter by email at unclejonesyscameras@gmail.com.

We're giving away this fully functional Minolta Maxxum XTsi and Maxxum AF Zoom 35-70mm f4 
lens. Send us an email if you want a chance to win.

Once agaiin our listeners chime in with some great email. We'd love to hear from you, too. 

Until next time, Happy Photography!

Wayne's photography can be seen at The Arts Center in Athens, Tennessee through May 30, 2025.

Gegory Davis (The Naked Photographer) created two YouTube vieos about his experience with the Intrepid Enlarger, which used LED light to emulate contrast filters.

https://youtu.be/Rqq_wwrZxk0?si=3JEXYBVQje9gBS3S

https://youtu.be/bp7SN4ua1cw?si=XFeM1J4uo6lK3B_h