UJC #5: Brick, Black, Cook, and Book

The Shutter Brothers (Kelley and Kevin) are back with show number 5. Do we talk about cameras? Of course, we talk about cameras! Kevin shares his newfound love for the venerable Argus C3, while Kelley takes a close look at his latest flea market find, the very cool Konica Autoreflex TC. And we cover a developing story - about developing color film. It's a process known as C-41, and temperatures are crucial to success. To that end, Kelley discusses using his new sous vide to control temperatures, while Kevin sticks with his "stove-top" method. Finally, Kelley reviews a great photo book by the legendary Gary Winogrand.

You can find our podcast at all of your favorite podcast directories including iTunes, Google Music, and Spotify. We would love to hear from you, so please email us at unclejonesyscameras@gmail.com. Enjoy, and don't forget to subscribe.

The Argus C3 - So Why Not?

Today’s post comes from the very impressionable Kevin

I am an avid reader of film photography blogs, and I use Feedly on iOS and Mac OS to keep up with the latest posts. I love being inspired by the photographs I see and the stories about how they were made. I also enjoy reading about cameras, especially cameras that have historical significance. So, it will come as no surprise that a recent post that mentioned the venerable Argus C3 caught my interest in a big way. After all, the Argus brand name was a household word to my brother, Kelley, and me, as our Uncle Jonesy's first Camera was an Argus Autronic 35. We would later learn that Argus was much more well-known for it's first camera, the Argus A, and its wildly-successful succcessor, the Argus C3. Internet searches will say much about this legendary American made rangefinder camera:  that its nickname is “the Brick,” that it is known as the Model T of American cameras, and that they were made and sold in the millions. And because they are so well, built, there probably are millions still in existence today.

If you were an American amateur photographer in the 1940's and 1950’s with an average income, chances are you used a version of the Argus C. It was much more affordable than German cameras such as the Leica, the Rolleiflex, and the German-made Kodak cameras, and with the rise in popularity of 35mm film, the Argus C became “the” American camera. The easy breakdown of the models goes like this:

1938 - Argus C:  Uncoupled rangefinder
1939 - Argus C2:  Coupled rangefinder
1938 - Argus C3:  Flash contacts on side (by far the most popular model).
1958 - Argus C3 Matchmatic:  Meter accessory and simplified exposure system

Argus C3 cameras are plentiful and easy to find today. Although the cost of a working C3 is rising (pretty much like all film cameras these days), they are still relatively inexpensive. Even so, I had never used one before. So, after reading about the C3, I thought, “Why not?” I couldn’t help thinking about how much fun it would be see what kind of images this historic camera could make. After all, I’m in this hobby for the fun of it.

I didn’t have to go far to find a C3, because I knew that Kelley owned one. I asked him if I could give it a try, and he gracious said yes. He brought it to my house, and I quickly learned that it was a Matchm atic model. On the Matchmatic, neither the shutter dial or the aperture displayed the traditional stop numbers (f16 and 1/100). Instead, they each have numbers from 4 to 8 for the shutter and 3/12 to 8 for the aperture. The Matchmatic made use of a selenium meter that attached to the camera with the accessory shoe on top. The meter would give a numberical exposure value, and then the user would set the shutter and the aperture to numbers that added up to the exposure value.  Of course, finding a working Matchmatic meter is difficult today. Fortunately, Matchmatics are still quite usable if you know what the numbers on the aperture and shutter dial represent, and, once again, some internet research reveals that the shutter speeds are:

4 = 1/10
5 = 1/30
6 = 1/60
7 = 1/100
8 = 1/300

. . . and the aperture settings are:

3/12 = f3.5
4 = f4
5 = f5.6
6 = f8
7 = f11
8 = f16

As I am yearning to be independent of a meter, using a camera like the C3 presents an opportunity to practice the art of judging light and exposure. It’s basic, back to roots photography, and that’s where I a, having the most fun. So, I loaded Kelley's C3 with some expired Kodak Max 800, which I am shooting at ISO 200 to account for its age. I’ve been shooting around Chattanooga and Atlanta. I’ll develop the film in the next day or so and post the results. Then I will decide whether or not I need to add a C3 to my collection.

Happy Thanksgiving and Happy Shooting!

Kelley's Christmas Present: A Mystery Camera

Today’s Post is By Kevin Lane

Because I am a public school music teacher with a holiday program to produce in addition to a full schedule of teaching, I usually get behind in my Christmas shopping. However, I’m happy to say that I have already bought a few gifts for family, and one of those is for my brother, podcast partner, and co-author of this blog, Kelley. Now, Christmas gifts are usually surprises, but it will come as no surprise to Kelley that he is getting a camera for Christmas. He really likes cameras. A lot.

Of course, Kelley doesn’t really need another camera (neither do I, but . . .). His collection is growing constantly, and he owns some really nice ones at that. But as he has written in this blog, Kelley really hates to see a camera just sitting there on some antique or thrift store shelf when it could be doing what it is supposed to be doing. If the price is right, there is a good chance that he will “rescue” it. Although he has favorites, he actually shoots many of the cameras he owns. So, any camera that I wold give to Kelley for a Christmas gift would have to be one he could actually use.

Recently, as my wife, Debbie, and I were wondering around an area antique store, I spotted just such a camera, a camera I had never actually seen before. I picked it up and examined it carefully. It had good batteries in it and seemed to work as it should. Then, I got out my iPhone and began to search for information on the camera. I found a very positive review of it that especially noted the quality of the lens. It also noted that, because the lens could take a filter, it had become the reviewer's go-to black and white camera. Finally, I checked the price tag, and it was very affordable, unlike most antique store cameras. Decision made:  Merry Christmas, Kelley!

Shooting a test roll of film seemed like a good idea for this gift camera, so I loaded it with a fresh roll of Kodak Tri-X 400 and set out for nearby downtown Ringgold, Georgia. It was late afternoon, and the light was good. I tried to practice my skills of “finding things to shoot when there isn’t anything to shoot” and looked for patterns, stories, ironies, and anything that thought might be photo worthy. I am trying to learn how to “free my mind” and let things catch my eye. Sometimes I see something and say to myself, “No one else may appreciate this, but I do.” Click.

The mystery camera also accompanied me on a trip to Elijay, Georgia, a drive through Lookout Mountain’s McClemore's Cove, and a walk on the “industrial wastes” section of Chattanooga's Tennessee Riverwalk. After shooting the last frame on the roll, I processed the film using D-76 1:1, waiting for the negatives to dry, and scanned them. Right away, I noticed more grain than I usually get with Tri-X, so maybe I did something wrong in development (reticulation due to temperature disparity between developer and stop bath and/or fixer?). However, I was quite pleased with what the mystery camera can do.

Obviously, I can’t reveal anything more about this mystery camera until after gifts have been exchanged, but I can show you some of the photos. And yes, I there will be a “reveal” in a future post.

Happy Shooting!

Pumpkins (SOLD), Ringgold, Ga. 

Gray, White, Door, Ringgold, Ga.

Open, Ringgold, Ga.

Vintage Gathering, Ringgold, Ga.

No Parking USA, Ringgold, Ga.

Antique Checkers, Elijay, Ga.

Having By A Thread, McClemore's Cove, Ga.

Uncle Jonesy's Cameras Podcast #4: Light Seals, Mirror Bumpers, Student Cameras, & Shooting Tips

Show #4 of the Uncle Jonesy's Cameras is now available for your listening pleasure! Spend some time with the Shutter Brothers (Kelley and Kevin Lane) as Kevin describes how he replaces the light seals and the mirror bumper on his newly-acquired Minolta XD-7.It takes patience and a steady hand, but you can do it, too (and if your cameras are as old as the ones we have, you probably need to.) It takes patience and a steady hand, but you can do it, too (and if your cameras are as old as the ones we have, you probably need to.)

Kevin's antique store XD-7 . . . 

 . . . with new seals and mirror bumper . . . 

 . . . that came from eBay!

Next, Kelley leads a discussion of what makes a good student-level camera. Of course, most people in film photography these days think of the Pentax K1000, but have you seen the prices lately? What other choices are "out there?"

Three excellent choices for student cameras, but "one of these
cameras is more expensive than the others."

Finally, Kelley and Kevin share their tips on finding suitable subjects for your photography. Hey, we all need inspiration sometimes, and the Shutter Brothers think that your inspiration might be closer than you think - maybe even on your drive to work. That's why membership in the Happy Shooting Club requires that you always carry a loaded camera with you. And, if you see something interesting that you know will not be there when you pass that way again, STOP and get it on film. As photographers, it's our civic duty!

An interesting juxtaposition that Kevin found worthy of photographing.

Kelley and Kevin would love to hear from all you listeners, especially if you have comments, suggestions, and questions. You can email us at unclejonesyscameras@gmail.com. Oh, and please subscribe to our podcast. That way, you'll never miss a show. And if you like what you hear, consider giving us a rating and a comment on iTunes. We really appreciate it (and you!) Happy Shooting!

How "GAS" Made Me a Better Photographer

Note - Today's blog comes from the photographic adventures of Kelley Lane 

Ok, let me clarify that title.  It probably should read “How the Acquisition of One Particular Camera Made Me a Better Photographer.”  If you have spent any time with a film photographer, you would have learned that most of us suffer from this condition known as “Gear Acquisition Syndrome,” or “GAS” for short.  To put it simply, when I am out and about in flea markets, antique shops, or thrift stores and I come across a film camera that I do not already have in my collection, I have to actively battle the urge to rescue (purchase) the camera from its lonely and dusty surroundings, and give this fine piece of machinery a new home where it will be used, cared for, and appreciated.  Sometimes it is all I can do to make myself walk away from the table and not look back at the sad and orphaned camera still sitting with its price tag reading $10.00.  “All it needs is a good home” I think to myself as I deal with that special kind of quilt brought about by abandonment.  Kinda like visiting the dog pound on Adoption Day when you know the last thing you need is another mouth to feed.  “Why do I do this to myself,” I ask as I do an about face, head back to the table, and fork over the $10.00 to the smiling lady who looks as if she is saying “I knew you would be back.”

 A while back, however, I did purchase a camera from an antique mall that has really made a difference in my growth as a photographer.  The camera was a Kodak Retina 1B.  The Retina line was a series of cameras made be Eastman Kodak in their German factory.  A few of these models turned out to be really nicely made cameras with excellent lenses and exceptional build quality.  The Retina 1B is one of these with its Schneider 2.8 50mm lens and Compur leaf shutter.  But what really was special about this camera was the two things it didn’t have. 

Kodak Retina 1B

When I first started taking photos many years ago, I understood little about exposure technique.  My first really good camera, a Minolta XG-1 had an exposure meter and an auto exposure mode that I relied upon totally.  This was fine except that I always wanted to be able to look at the lighting and be able to set exposure without any help from a meter.  Of course I could have done that with the XG-1, but the auto exposure mode had become a crutch, and I didn’t have the knowledge or the confidence to go my own way.  This Retina 1B, is a fully manual camera with a full range of exposure settings, and though it has a light meter on board, it no longer is functioning.  So, when I first began to shoot with this camera, I carried a hand held light meter with me . . . again, no confidence in myself.  But using this light meter proved to be a complete distraction in my picture taking work flow, and I thought to myself, “Why can’t I just look at the light and make a judgement about the exposure?” I had heard of “Sunny 16,” but never felt the need to use this simple formula to set my exposure.  Maybe it was time I ditched the light meter habit and truly get in touch with how light and exposure works.

 Sunny 16 is a simple rule that goes like this.  If you are shooting on a bright sunny day with the sun behind you, simply set the aperture to F16, and the shutter speed to the setting that is the closest match to the speed of your film.  For example, if your film ISO is 100, set the shutter to 1/125 of a second.  Your camera is now ready as long as your subject is direct sunlight.  This part of Sunny 16 is easy . . . just shoot in bright sunlight.  But the real magic of this simple rule of exposure comes when the lighting is anything but sunny.  If you understand that each setting of the shutter or the aperture increases or decreases the amount of light reaching the film by multiples of two, then you now have a real guide to setting your exposure.  For example, if I’m shooting 100 ISO film and my subject is in bright sunlight, my shutter would be set to 1/125 and the aperture would be set to F16.  However, if my subject decides to step into the shade, I now have to increase the amount of light reaching the film.  How much, you say?  If I open my aperture to the next setting at F11, I have doubled the amount of light reaching the film.  If I go on to F8, the light has been increase by a factor of 4.  Each “stop” on my aperture going down from F16 doubles the amount of light.  I can now use this information to make a judgement on exposure now that my subject is no longer in bright sunlight, but now in the shade.  How much I actually increase the light that enters the lens depends on the subject (light or dark) and the background (reflective or non-reflective), but my basic rule of thumb is to increase the aperture by two stops (F8) when shooting in the shade.  If the background is dark, I might go three stops down (F5.6).  The key point is that I am now looking at light and, using Sunny 16 as a guide, I now can make an educated guess as to what my exposure setting should be.  In other words, I have now become my own light meter.  All I had to do was start paying serious attention to the amount of light illuminating my subject and decide how much (if any) I needed to increase the light reaching the film from the bright sunlight setting of F16.  It only took a few rolls of film to practice this method, and as it turned out, my “educated guesses” were more correct than incorrect.  This gave me the confidence to shoot away in all manner of lighting conditions without relying on a light meter.  Now I could use the many old cameras that I have collected that have no light meter. 



Kodak Retina 1B - Tri X 400 - Marietta, GA

 I owe this renewed confidence as a photographer to this little Kodak Retina 1B.  If I had never purchased this camera, I would probably still be shooting 35mm SLR’s and totally relying on the auto exposure mode.  There if nothing wrong with this, of course.  Sometimes it is nice shoot pictures and not thinks about exposure at all.  But being a good photographer means understanding how light works, just like being a good cook means knowing about ingredients and how much to use in preparing a meal.  When I look at a photograph I have made that came out really good, I get a great feeling knowing that I made the decision about exposure based on how I saw the light with my own eyes.  This makes my photos a more personal expression of how I saw my subject.  This is what “art” is all about.  So next time you see an old camera at a flea market or thrift store looking sad and lonely and begging to be taken home, try to be open to the possibilities of what this old camera might teach you about photography.  It could be the best $10.00 you have spent in while.

 

Next time, I'll tell you about the other thing this camera taught me.  Till then, "Let's get some pictures."


Kodak Retina 1B - Tri X 400 - Rome, GA



Kodak Retina 1B - Tri X 400 - Rome, GA

Kodak Retina 1B - Tri X 400 - Marietta, GA

Uncle Jonesy's Cameras Podcast Show #3 is (Finally) Here!

It took us long enough, but we finally have show #3 of the Uncle Jonesy's Cameras Podcast available for your listening pleasure. Kelley and I have a conversation about our go-to films and films we hope to shoot someday. Then we take a deep dive into exposure and our desire to become more independent of our camera meter. To this end, we mention a very influential book, The Nature Photographer's Complete Guide to Professional Field Techniques by John Shaw, the Black Cat Exposure Guide, and the Ultimate Exposure Computer. Finally, Kelley talks about a  flea market Konica. You can find the podcast on iTunes, Google Play Music, and Spotify, and if you like what you hear, please subscribe! 

Kelley and I apologize for this show taking so long to deliver. Neither Kelley or I are procrastinators, and we both like to keep commitments. However, sometimes life just happens. Both Kelley and I have been quite busy with our day jobs, and we also have had family activities to keep us busy. Plus, Kelley has been super busy moving into a new house and trying to get his guitar shop up and running. So much for excuses . . .

I know it would be easy for anyone who has listened to the first two UJC podcast episodes to think that while we got off to a fast start, we might be one of those podcasts that can't keep the shows coming. We want you to know that Kelley and I are committed to this venture, and we intend to see it through. We also want you to know that we feel we make a better podcast by both of us being in the same room. Because of this standard we have set for ourselves, there may be times when we won't be able to record as much as we like. But we are NOT giving up, and we hope you won't give up on us. So please keep listening, and if you like what you hear, please share with your photography friends. You are the reason this podcast exists!

We would love to hear from you, so please email the podcast at unclejonseyscameras@gmail.com.

That's Pushing It!

This post is about push-processing, a technique that will be very familiar to most experienced photographers. However, I had never tried it before, so you will have to excuse my excitement. If you are in the "experienced" category and know all about push-processing, you may want to skip the rest of this article. If not, then read on.

Someday I really would like to combine my music and photography interests by photographing live performances around town. My preference would be to shoot at small intimate venues like clubs and to use black and white. I had the chance to do this recently when an up-and-coming country music trio from Nashville called Campbell Station came to play a show at Songbirds in Chattanooga. Songbirds is a guitar museum housed in an old railroad station that has been converted into a hotel and entertainment complex. Songbirds has a small performance venue amongst the hundreds of vintage and rare guitars on display, and I thought this would be a good opportunity to practice my photography skills, especially since one of the members of Campbell Station is a former music student of mine.

The problem shooting musical performances, of course, is low light, and unless you are using ultra fast film (like Kodak TMaxx 3200), you really only have one option is to push-process your film. (You could, of course, use a flash, but that will get you kicked out of most venues today.) I had never push-processed film before, so I was a little anxious about trying for the first time on such a good photo opportunity. However, after doing a little research, I found that it is really quite easy, and I went for it.

Push-processing is a two-step process that essentially causes your film to think it is faster (more sensitive to light) than it really is. The first step takes place when you shoot the film. Instead of setting the film speed on your camera to box speed (the speed indicated on the box), you set your camera to a higher film speed.  For example, I chose to use Kodak Tri-X 400 film, but instead of shooting it at 400, I shot it two stops faster at 1600,  allowing me to use a fast-enough shutter speed to get sharp images of the group.  Of course, by doing this I was underexposing the film by two stops. That is what makes step two necessary.

Step two is two extend the developing time when the film is processed. Kodak publishes developing information for their black and white films online, so I found the technical data sheet for Tri-X (http://imaging.kodakalaris.com/sites/prod/files/files/resources/f4017_TriX.pdf) and found that my developing time for 1600 (using D-76 1:1 at 68º) is 13 1/4 minutes instead of the usual 9 3/4 minutes. The other processing steps, stop bath and fixer), remain the same as usual.

Push-processing does have its costs, however. While you gain exposure latitude with push-processing, you also lose some image "quality." I put the word quality in quotes because the loss in image quality when using push-processing amounts to higher grain and contrast, and many photographers (including myself) like the increased amounts of grain and contrast in certain situations such as concert photography. I really like the way the Campbell Stations photos came out. I definitely will be using push-processing again in similar situations. It's great for me to know that I can use Tri-X 400 this way and count on getting images of which I am proud.

All of the photos below were shot with Uncle Jonesy's Minolta SR-T202 on Kodak Tri-X 400 pushed to 1600 and home processed.