Uncle Jonesy's Cameras Podcast #98: The Final Answer

 by Kevin Lane

As I write this, I am struggling to stay focused on the words I need to be typing to create this blog post of show notes from show #98. All I can think about these days is my forthcoming trip to Ireland, which is exactly one week away. My wife and I have talked about visiting Ireland for at least two decades, and now it is almost at hand. Soon, I will step off of the airplane and onto Irish soil in the city of Dublin, with visits to Cork and Killarney soon to come. I can hardly wait.

When I do find myself in the land of saints and scholars, I will be carrying two film cameras and a large supply of both black and white and color film. One of the two cameras, my Leica M2 with two lenses: a 50mm f2 Summicron collapsable and an Elmer f3.5 35mm screw mount in a Leica M adapter. This camera will be loaded with Kodak Tri-X 400 black and white film. The choice of the M2 was a no brainer, as it has been my main 35mm camera since I acquired it in May of 2025. 

My Leica M2 has shot nearly all my 35mm photography in the last year and is going to Ireland with me.

The other camera, the one that will be shooting Kodak Portra 400 color negative form, wasn't an easy choice. At first, I considered taking my Minolta Hi Matic AF2, which is a compact 35mm auto focus point and shoot camera, but after a test roll, I found the quality a little lacking. Next, I considered taking a medium format camera like my daughter's Hasselblad 500cm (which I am keeping for her until she wishes to resume using it). However, its heavy weight was an issue. I will be doing a lot of walking during this trip. Also, I was concerned about shooting two different film formats. So, my thoughts went back to a 35mm camera, and it was at this moment that Wayne stepped up and suggested that I take his Canon Canonet QL17 Giii, a very compact rangefinder with a superb lens. I took the camera home and gave it a workout during an anniversary trip to New England, and I liked it well enough. However, I didn't feel comfortable with it, and it was hard not to worry about something happening to it. 

No the camera going with me to Ireland had to be one of my cameras, and the obvious choice for me was my beloved Minolta X-700. I have always loved this camera. In 1990 I bought one brand new, and it served me well for ten years before I let it go. The one I have now is another gift from my brother, Kelley. At this point, I thought my mind was made up. It was the one.

As it happens, however, fate intervened. My wife, Debbie, and I were shopping in several thrift stores just three weeks ago, and at the last one, I found a very recognizable leather ever ready case behind the glass of the sales counter. I asked the clerk if I could see it, and the first thing I noticed was the $20 price tag. I opened the case, and there in my hands was a Minolta Hi Matic 7s. I once owned one of these. It was a 2017 Christmas gift from my brother, Kelley, who said to me at the time that he got it for me because I had expressed a strong interest in having one. This was quite true, and I was so pleased to have it, that I decided on the spot to take it to Norway as my color camera for a trip that would begin the next day instead of my Nikon FE. The 7s performed quite well, making all the color photographs I took on that memorable experience. Some of those appear on my television screen saver from time to time.

Anyway, back to the thrift store camera. I tested the shutter, aperture and focus, and all seemed to work well. The viewfinder was quite hazy, however. Next, I checked to see if the meter worked, and it did not. I removed the battery cover and found an old mercury cell, which I assumed to be dead, which would explain the non-functioning meter. I replaced the battery cover and handed the camera back to the clerk, saying, "I'll think about it."

As I walked away to find Debbie, the main thought in my head was the $20 price. Even a Minolta Hi Matic 7s with a broken meter is worth $20. And the meter might not be broken. So, I returned to the clerk and purchased the camera. As soon as we walked through the door of our condo, I found a LR44 batter and put it in the battery chamber. Sure enough, the meter came to life. Then, I grabbed my Minolta X-700 and made some meter comparisons with the 7s, and the 7s meter delivered accurate readings. "A working 7s with a working meter!" I exclaimed out loud. I knew something special was happening.

This camera definitely has seen some use, but I believe it was loved.

The next day, I set about examining the glass. I already knew that the viewfinder was hazy, but the lens turned out to be amazingly clean. A helpful YouTube video showed my how to remove the top plate, and in no time the viewfinder and rangefinder optics were clean. Re-assembly was more difficult than I expected, but another YouTube video showed me what I was doing wrong. Soon, the 7s was re-assembled, clean, and perfectly functioning. The only thing that remained was shooting a test roll, which I did right away. Three days later, I developed the test roll, and the result was a roll of evenly exposed negatives with razor sharp images. And all for $20!

Except for the two unexposed frames when I accidentally fired the shutter
with the lens cap on, this roll is evenly and perfectly exposed.

I really wasn't a difficult decision to make, choosing to take the 7s Ireland as my color film camera. My past history with the 7s was a factor for certain, but what put the 7s over the top was how much fun I has shooting the test roll. I even felt much more comfortable with the metering system, which uses EV numbers in the viewfinder rather than shutter speeds or aperture numbers. I only wish I had tested the automatic exposure setter to see how it performs. When the aperture and shutter is set to A, the camera operates in what amounts to a program mode. The could be quite useful while shooting color film.

The new addition gets an appropriate lens cap!

So, there it is. the story of how a $20 thrift store find becomes my color film choice for our dream vacation. But the story doesn't end here. When I told Wayne about all this, he revealed to me that he has been re-evaluating his thoughts about his little Canon Canonet QL17 Giii. Until recently, Wayne thought of this camera as one he would not keep. But using it on a recent trip has led him to think that this might be his 35mm travel camera instead of his Canon VI-L rangefinder, a beautifully crafted camera that used Leica screw mount lenses. When we recorded show #98, we put the QL17 and the 7s on the table next to each other, and I was struck by the size difference. 

Meanwhile, both Wayne and I have been doing some darkroom printing lately. Wayne has been printing more of his panoramic photographs made with his Noblex camera. 

Three of Wayne's recent panoramic prints.

My printing involved making larger versions of some prints I had already made, and this gave me the opportunity to use a very useful tool, the Ilford EM10. The EM10 is essentially a light meter for your enlarger. With it, I can measure the light falling on the easel at a particular enlarger height and calculate the proper exposure for the larger or smaller print. 

The Ilford EM10 made it easy to upscale this print to the size I wanted.

In show #98 Wayne and I discuss a number of other topics, included his desire to someday digitized his 4x5 transparency sheets. I don't do much film scanning (and Wayne doesn't do any), but I did find this video from Nick Carver on how to do wet scans.

One of the more important things that Wayne and I discuss in show #98 is our forthcoming 5th Annual Phorowalk with the Shutter Brothers. The date is Saturday, October 24, and the location is Huntsville, Alabama. You can find all the details here at our Facebook event page.

Don't forget that we will be recording our 100th podcast episode  sometime in October. We haven't a clue how to celebrate this achievement, so, we are asking you, are faithful listeners, to help us work out what to do on show #100. If you have suggestions please send us an email at unclejonesyscameras@gmail.com. And while you're at it, feel free to include your questions, tips, reviews, stories, etc. We LOVE listener feedback! Also, you can follow us on our Facebook and Instagram pages. And we also want to thank our special listeners who have made financial contributions to help us with production and hosting costs. If you would like to help, you can do so at our Ko-fi page.

Happy Photography! Now, go get some good pictures!

Uncle Jonesy's Cameras Podcast #97: George Alexander Grant (IYKYK)

 by Kevin Lane

On a recent trip to New England with my wife, Debbie, I purchased a book about a photographer of whom I had never heard. His name is George Alexander Grant, and he was the first chief photographer of the National Park Service. Over the twenty-five years that he worked for the NPS, he made tens of thousands of photographs, the purpose of which was to promote Americas's national parks to a public that was just beginning to discover the rich treasures the parks were. Grant's photography also was used to convince Congress to establish several more national parks. His photography has a high degree of technical perfection and reveals a skilled eye for composition and story telling. Yet, being an employee of the NPS, he never received a credit for his work. 

George A. Grant: Scotts Bluff National Monument, 1939

The book, Landscapes for the People: George Alexander Grant, the First Chief Photographer of the National Park Service, by Red and Helen Davis (© 2015 by the University of Georgia Press) presents an extremely well researched history of Grant and his remarkable perseverance that led to him landing his dream job after years of letter writing. The authors go on to describe in detail how his work for the NPS became his life. For twenty-five years, he photographed from spring though fall and performed darkroom work in the winter. To accomplish the assignments Grant received, his travels crisscrossed the nation, racking up over 140,000 miles in the process. He never married nor had he any children. 

I discussed more of the details of Grant's life's well as several of his photographs in the podcast, but to get a true since of the scope and quality of Grant's work, you should get a copy of this handsome book. the 169 reproductions of Grant's photographs (all of which are scans of actual prints) are of the highest quality. This book not only inspires me to go out with my camera and make for myself photographs that capture the beauty of the American landscape, it also makes me want to plans trips to as many of the American national parks as I can visit before my time on earth is over. 

It is possible that you can find a copy of Landscapes for the People: George Alexander Grant, the First Chief Photographer of the National Park Service for sale at the visitor center of your nearest national park, national monument, or national battlefield. If not, you can purchase the book directly from the University of Georgia Press here.

Here is a link to a YouTube video of the authors presenting a discussion of their research on Grant.

The first half of show #97 is a discussion that stems from a great email from listener Roger Jones, in which he suggests that I rent a mirrorless digital camera with my Minolta Maxxum lenses to make color photography in Ireland next month. This is a pretty good idea, actually, and it would be a considerable upgrade from just using my iPhone for color. Of course, I also could use my Sony A100 instead of renting a camera, but rarely use that camera and don't really like its results. I'm much more comfortable shooting film, and I want the look I would get from Portra 400 (or Ektacolor Pro 400, as it is now called). Yes, it would be much more convenient to shoot digital for color, and I haven't ruled out the idea. I still have a little over a month before we land in Dublin. Stay tuned.

Wayne and I close the show with a look at the calendar, and we have two very exciting events to anticipate. Our 5th Annual Photowalk with the Shutter Brothers is scheduled for Saturday, October 24, in Huntsville, Alabama. This photowalk will have everything: urban landscape, urban parks, street photography, and of course, fellowship. Look for a Facebook event page very soon.

The second event on our calendar doesn't have a date yet, but it also will occur sometime in October. The Uncle Jonesy's Cameras Podcast will reach 100 - episodes, that is. While we are very excited about this (and quite surprised, frankly,) we haven't a clue how to celebrate this achievement. So, we are asking you, are faithful listeners, to help us work out what to do on show #100. If you have suggestions please send us an email at unclejonesyscameras@gmail.com. And while you're at it, feel free to include your questions, tips, reviews, stories, etc. We LOVE listener feedback! Also, you can follow us on our Facebook and Instagram pages. And we also want to thank our special listeners who have made financial contributions to help us with production and hosting costs. If you would like to help, you can do so at our Ko-fi page.

Happy Photography! Now, go get some good pictures!

Uncle Jonesy's Cameras Podcast #96: The Great Film Photo Meetup II - Louisville!

by Kevin Lane

It's a known fact that many photographers like to practice their craft alone. It's not hard to picture the lone street photographer doing his or her best to remain invisible while looking for both human and human subjects, the single nature photographer looking for just the right place to plant a tripod, or the solitary figure adjusting an enlarger in the dim red light of the darkroom. I think that most photographers like to work alone, because they believe they do their best work when they are by themselves. I happen to be one of these photographers.

However, that doesn't mean that I avoid connecting with other photographers or photographing with them. In fact, while most photographers may prefer to work alone, I believe that most of them like to get together with other link minded people and talk craft and, of course, gear while walking around looking for viable compositions. It for this reason that Wayne and I have organized our annual Photowalk with the Shutter Brothers each of the last four years, and we will do it for the fifth time this October. And last year a number of film photography podcasters decided to do the same with The Great Film Photo Meetup in my hometown of Chattanooga, TN. It was particularly enjoyable for me, as I finally got to meet several fellow podcasters in person.

Those same podcasters are dong it again this year with The Great Film Photo Meetup II, which will take place August 14-16 in Louisville, Kentucky. And know this: this event is for all photography enthusiasts. You don't have to be a podcaster or a film shooter to participate. At The Great Film Photo Meetup II you can enjoy the company with photography enthusiasts while photographing in a city known for horse racing, baseball bats, and bourbon. Wayne will be there (sadly, I cannot attend). You should be there, too. The link for the Facebook event page is here.

Meanwhile, I've been on an extended travel vacation with my wife, Debbie, to celebrate our fortieth wedding anniversary. Our fourteen day adventure took us through fifteen states and two countries (Canada), and to say that we had a wonderful time doesn't come close. We visited great museums and saw incredible scenics, and I walked around with two very different cameras. One of those, Wayne's diminutive Canon Canonet QL17 GIII, needs no introduction to film photography enthusiasts. It's often called the "Poor Man's Leica," but there is nothing 'poor' about it. It may even be the ultimate vacation camera.I used it for color film, and I give a full report of my experience with it in show #96. 

But what about the other 'walk around' camera? 

A Hasselblad 500CM? Are you kidding me?

No, I am not kidding. I walked around Niagara Falls (both the Canadian American sides) for two days shooting black and white film. Was it heavy? Yes, certainly heavier than the QL17 GIII, but not unmanageable for me. I rather enjoyed using it, and I explain my reasons in the show.

Finally, the aforementioned 5th Annual Photowalk with the Shutter Brothers will take place on Saturday, October 24, 2026 in Huntsville, Alabama. Want and I are putting the finishing touches on the details, so look for an announcement and a Facebook event page soon.

Before I sign off, Wayne and I need your help. As things stand now, we are projected to release our 100th episode in October, and in show #96 threw it out to our listeners to make suggestions on how to celebrate such an achievement (something I never thought would happen, by the way.) If you have a suggestion, please send to us in an email to unclejonesyscameras@gmail.com. Even if you don't have any 100th shobw ideas, we'd still love to hear from you. Also, please follow us on our Facebook and Instagram pages. And we also want to thank our special listeners who have made financial contributions to help us with production and hosting costs. If you would like to help, you can do so at our Ko-fi page.

Happy Photography! Now, go get some good pictures!

Uncle Jonesy's Cameras Podcast #95: Hot Hot Hot!

 by Kevin Lane

Sometimes Wayne and I forget that we have listens all over the world, and some of those listeners live in the southern hemisphere. So, when we go off about the weather - something we are prone to do a lot - we should be mindful that some of our listeners are currently experiencing the dead of winter and maybe wishing for some of the extreme hot temperatures that Wayne and I complain about in show #95. Then again, most people think only of the weather in their neighborhood and don't mind someone else doing the complaining, especially if it's sunny and mild at the beach.

Nevertheless it has been in the mid to upper nineties in eastern Tennessee lately with the heat index reaching or exceeding 100ºF, which some consider to be too dangerous to be outside. Wayne and I agree with these people, so we haven't been doing much actual photography lately. Instead, we've been doing other "photographic" things like making prints in the darkroom, organizing our negatives, and for me, learning how to cut mats. We thought others might benefit from a discussion of things to do when it's too hot to be outside, and, as usual, Wayne presents a lot of good suggestions in the show.

Wayne’s guide to cutting mat in the European “pedestal” style.

One activity that has consumed a fair amount of my time and thought is working out which cameras are going with me to Ireland this autumn. Wayne and I have discussed this (endlessly, it seems) on multiple episodes, and I wrote about it in the blog post for show #93. At that time, I was considering either taking taking a Hasselblad with two film backs (one for color and the other for b&w) or the Hasselblad (color) and my Leica M2 (b&w). However, it only took a couple of weeks before I began changing my mind (again), and soon another camera became a contender: my beloved Minolta X-700. It is my favorite 35mm SLR of all time, and I have owned one for most of the last thirty-six years. No camera fits my hand like the X-700, and I was reminded of this when I went to the closet and got it out. I thought to myself, "this is the perfect partner to my M2, if I go all in with 35mm film."

My Leica M2 will go to Ireland loaded with Tri-X . . .

. . . and my newly serviced Minolta X-700 will be shooting 
Portra 400 . . .

. . .  unless I change my mind again and take this little guy.

However, there was a problem. For sometime I had suspected that the dreaded capacitor failure problem that either has or will plague most Minolta X series cameras was beginning to show one of its symptoms: dim and/or dead LED lights in the viewfinder. This, along with other capacitor-related problems can be repaired by a qualified camera technician, so off it went to the camera tech that I have used and trusted the most: Garry Airapetov at Garry's Camera Repair. His work has been solid, and his prices are quite reasonable. Also, his turnaround time is amazing. I had my  X-700 back after a full servicing and capacitor replacement in less than two weeks! Now, it works like a new camera. Thank you Garry!

So, the M2 and the X-700 are going to Ireland, right? Well, not so fast. Wayne suggested that I take his Canon Canonet QL17 G-III, a very small but very highly regarded 35mm rangefinder camera. It's often referred to as the "Poor Man's Leica," which is in some ways a disservice to the Canon Canonet. Although it is a fixed lens camera, it's capable of making pictures with the same quality as the interchangeable lens Leica. And not only is it small, it also is quite light despite being solidly built. It's the perfect travel camera.

So now what? The X-700 or the QL G-III? 

As I write this, I am still leaning toward the X-700. However, my wife and I are about to leave on a two week journey to the northeastern USA. The trip is to celebrate our fortieth wedding anniversary and is a journey that more or less recreates a trip we took shortly after we were married. It will be the perfect opportunity to put the QL17 to the test as my color film camera. I plan to make semi-regular posts here on this blog during the trip, so stay tuned.

Meanwhile, Wayne has been very busy in his darkroom lately making prints for his Random Acts of Art project. You can learn more about it here.

As always, we get to read some great listener email on this podcast, and show #95 is no exception. We would love to hear from you as well. Send your photography thoughts to unclejonesyscameras@gmail.com. Also you can follow us on our Facebook and Instagram pages.

Uncle Jonesy's Cameras Podcast #94: Our First Fight

 by Kevin Lane

Don't worry; I just needed a catchy title for this blog post. Wayne and I are still very close friends who think alike in many ways. Wayne isn't just a Shutter Brother; he is very much like a brother to me, and I'm very grateful for having him in my life. 

However, that doesn't mean we agree on everything. Wayne thinks that a photograph that is not printed by the photographer who took it is not a valid representation of the photographers's work. I think that, at the very least, it can be. That is, if a great deal of care and research goes into making the print. In the show, I use the photography of Vivian Maier as an example. Maier exposed thousands of rolls of film, yet she made relatively few darkroom prints. When John Maloof and others discovered exposed film in 2007, the world began to be introduced to her photography only after her film was processed and scanned. Most of us who have seen her photography did so as a result of one of several documentaries and/or one of the several books that have been published. Some may even have seen her work in a museum exhibition. The vast majority of these pictures were never printed by Maier. Are they then not valid representations of her work?

The real answer to that question may be that we will never know. Maier, who died the very year her work was discovered, is not around to have her say. And given her extreme importance she placed on maintaining her privacy while she lived, she may have strong reservations over her worked being published in the first place, never mind how her pictures are printed today. The fact that she herself always printed her square format negatives as cropped rectangles actually lends credibility to Wayne's argument. 

Nevertheless, I am quite grateful for having Maier's photography available to enjoy. She had extraordinary talent and technique, and her pictures inspire me. I don't really care who printed them. I am simply grateful that they exist.

Vivian Maier saw and shot it. Someone else developed and printed/scanned it.
Who's photograph is it?

From Vivian Maier: Street Photographer, edited by John Maloof and published by
PowerHouse Books, Brooklyn, NY

In show #94 I present a review of Stephen Shore's book, The Nature of Photographs. I have only recently become acquainted with Shore's work and have enjoyed looking at two of his most well known photo books, American Surfaces and Uncommon Places. The Nature of Photographs is, as it says on the cover, A Primer that serves to explain how a photograph works - that is to say, how a photograph does what it does to the viewer when viewed. I found it very interesting and immediately re-read the book. In fact, because the book originated as a college course that Shore once taught, I decided to take notes as if I was in Shore's classroom. In addition to Shore's text, the book contains a large number of photographs that are used to illustrate his explanation of what Shore calls a visual grammar. I think that both photographers and fans of photography would enjoy this book.

We've really been receiving some great listener email lately, and the mail we read on this show is no exception. In one email, Professor Bear Brown asked about Wayne's extensive printing notes for his photograph of Burgess Falls. So here they are!

We would love to hear from you as well, so please drop us a line at unclejonesyscameras@gmail.com. You can also leave comments on our Facebook and Instagram pages.

Finally, we must give a special shout out to our listeners who have "shot the extra frame" and made contributions to the production costs of the podcast. If you wish, you also can contribute by going to our Ko-fi.com account.  Thank you!

Happy Photography everyone! Now go get some good pictures!

Uncle Jonesy's Cameras Podcast #93: Random Acts of Art

 by Kevin Lane

If there is one thing on which most normal people would agree, it would be that we could all use more kindness in the world. Not to preach, but the only way to make that happen is to take on the role of spreading kindness ourselves. Kindness comes in many forms, but they all do the same things. They make people feel better, and they inspire people to pass kindness on to others. 

We all have our own way of spreading kindness, but Wayne's Random Acts of Art is one of my favorite. In the past, in the past, Wayne has made a series of small prints and put them in mats that he cut from leftover mat board. Then, he places the print in a sealed plastic bag and leaves it in a random public place for someone to find. Also inside the bag is a note about the print and who made it. The person who finds it is invited to take the print home for free and also encouraged to email Wayne and let him know that the print has found a home.

Random Acts of Art soon to have a new home.

I am fascinated by this. Wayne is essentially giving away his work to people he likely will never meet. And yet, to me this is a win/win. Someone get a free photograph ready to frame and display. Wayne gets the satisfaction of knowing that his work is displayed and appreciated in someone's home. Of course, it cost Wayne money to make these prints, but I think it evens out with the enjoyment Wayne gets from being in the darkroom making photographs. Sometimes I think that Wayne actually comes out on the plus side. And let's be honest. Very few photographers are able to make money (much less a living) from their print sales. Most of us who consider photography a hobby know full well that hobbies like photographs  costs money. But we keep paying it, because it gives us something back. Using out hobby to benefit others seems to me to be the icing on the cake.

Meanwhile, I continue to think about my forthcoming trip to Ireland and which camera(s) I should take. Originally, I my plan was to take my Leica M2 and photograph Ireland with black and white film. Any color photography would come from my iPhone. This is what I did for my eastern Caribbean cruise last January. However, the more I considered this, them more dissatisfying I found this plan, mainly for two reasons. First, I didn't make a book with the eastern Caribbean cruise photographs, not did I intend to. Second, We're talking about Ireland here. Visiting Ireland has been a dream of mine for decades, And when I think of Ireland, I see color. I simply have to shoot a lot of color in Ireland. As good as the camera on my iPhone 16e is, am I really going to rely on my iPhone for what could be the majority of my photography there?

I want my Ireland photography to look like it was shot on film, bie it b&w or color. Otherwise, I would just take a digital SLR and shoot away, changing pictures into b&w when I wanted. But since I want the look of film, I will shoot both color and b&w on film. However, that means taking two cameras. Or does it? I actually can't believe that I didn't immediately think of taking my daughter's Hasselblad 500cm, a camera that uses interchangeable film backs. With color film in one back and b&w in the other, I only need one camera. Furthermore, I like shooting square format.

Nevertheless, I'm still not completely sold on this idea. Why? First of all, the Hasselblad is a heavy camera, and i will be on foot most of the time in Ireland. And second, do I really want to leave my M2 behind? It's the perfect travel camera. I even purchased a half case for it.

My Leica M2 with its new half case from Cam-In. How can I not take this to Ireland?

I have a little more than three months to work this out. Stay tuned.

Our listeners have really leveled up with their emails lately, and on this show, we get a great question about mixing and using homemade chemistry. Both Wayne and I mix our own film and print developers from raw ingredients, and it works well for us. I get most of my chemicals from Photographers Formulary, but some chemicals, such as instant coffee (for Cafenol C-L) and Borax (for D-76) can be purchased at your local grocery store. A small digital gram scale is essential, and a magnet stirrer makes mixing your chemistry much easier.

All this and distilled water, and you get a fresh homemade liter of D-76

As always, we love to hear from our listeners. Drop us a line at unclejonesyscameras@gmail,com and let us know what you've been up to with your photography. You also can find us on Facebook and Instagram.

Happy Photography! Now go get some good pictures!

Uncle Jonesy's Cameras Podcast #92: Enter the Hasselblad

by Kevin Lane

Have you ever owned so many records that you no longer remember what you actually have? I have. Several times I've come very close to purchasing am LP that I already own, only to have my wife thankfully save me from such embarrassment. Although I've never come close to purchasing a camera I already own, I have at times owned so many cameras (too many, in fact) that I forgot that I once owned one or two.

I can think of one such camera that hadn't entered my mind at all until quite recently, and although I purchased the camera, I did not own it. The camera is a Hasselblad 500 C/M that I purchased for my older daughter, Megan, to have and use for photography classes at the art college she attended. She made fine use of the camera and made a series of family photographs that got her noticed, and she even sold a print or two. I have since made a photobook of those photographs that lives on the shelf in our living room. 

However Megan's journey as an artist took her to media other than photography, and she asked me to look after the camera. Shortly after that, I loaned it to a close friend, Mark Gilliland, who happens to me a gifted professional photographer and a true artist, and he kept it for several years but used it little. Recently, I began to think about that camera, and this is likely because of my growing interest in the work of Robert Adams, who used a Hasselblad for his square format photography. So I asked Mark if I could have it back, and he obliged. I'm a couple of frames from finishing my first roll in it.

If you listen to our podcast and read our blog, you likely understand what I mean when I refer to 'camera mystique.' There is something mysterious about certain cameras - something almost other worldly, I suppose - that we find ourselves thinking about them, desiring them, and finding finding ways to own them. Don't take this the wrong way, but I think it becomes a kind of worship. We begin to ascribe certain powers to cameras that enable them to produce the kind of results that we all hope for and dream about. "If I had such and such camera, I could make excellent pictures."

Of course, cameras don't have any power at all, any more than a hammer has powers to make me a better carpenter. Nonetheless, we can't deny our perception of cameras as more than mere things. Some people feel this way about automobiles. For others, it's guitars.

I recently had the opportunity to use a Rolleiflex 2.8D, a legendary camera because of its Planar lens. I am well aware of it because of my love of the photography of Vivian Maier. Of course, I would love to own one, but what I really desire is the ability to see like Vivian Maier. Then, I could make better photography with the fine-functioning Rolleicord Va that I already own. Furthermore, I own the exact same 4x5 camera that Shutter Brother Wayne Setser uses (a Wisner Technical Field Camera). However I would gladly go back to using the Intrepid 4x5 that I previously owned if I could somehow purchase the ability to see like Wayne. Sadly, that's not how it works.

I hope you already have the camera you have always wanted, but what I wish for you is that you are seeing the photographic possibilities around you, and that you are devoting yourself to developing the skills needed to capture what you see. That's what I want more than anything else out of this. 

My Rolleicord Va and Megan's Hasselblad 500 C/M.

I recently acquired the KEKS M Meter for Leica M cameras. It is an updated version of the Leica Meter MR, which came with the M2 I purchased a year ago. I found the Leica Meter MR to be unreliable (probably due to its age), so I am looking forward to seeing what the KEKS meter can do. Stay tuned.

The KEK M on the lefty and the Leica Meter MR on the right.

The display is easy to read and the activate button is easy to reach.

Turning the knurled knob actually sets the camera's shutter speed.

As of the day I write this, you still have an opportunity to see Wayne's retrospective show, Things I've Seen:  Fifty Years of Analog Photography, at The Arts Center in Athens, Tennessee. It closes on May 22. It you can't get to Athens but still want to see the pictures, Wayne has made a fine book of every print in the show. You can get your copy by sending an email to unclejonesyscameras@gmail.com for only $20.00. And even if you don't want a copy of the book, we would still love to hear from you. You also can reach us on Facebook and Instagram. And if you would like to support us financially and help us with our production costs, you can donate at our Ko.fi.com account. We want to express our gratitude to all our listeners who have generously supported us with donations large and small. They all help Wayne and I to keep making the best shows we can. Thank you!

Wayne's show at The Arts Center in Athens, TN runs through May 22.

You can get your copy of Wayne's book by sending us an email.

Here is the link to the Leica YouTube channel video in which Anton Dunkelkammer demonstrates how to make contact sheets using 9.5x12 inch Ilford paper.

Happy Photography, everyone! Now go get some good pictures!