Time to Sell Pt. 2: Hard Choices

Jonesy's 202:  A camera I should
use more.

In my previous post I laid forth the argument for selling some of the cameras in my "inventory" (remember, I am not a camera collector). Having made a convincing case (at least to myself), now it is time to decide which cameras will stay and which cameras will go. This will not easy, and it will get progressively more difficult as I go. I definitely am experiencing a strong temptation to simply let things stay the way they are now and keep everything. I'm starting to hear voices. "What harm will not selling do? Just let them stay where they are. Maybe you will end up using all of them over the course of this year. And remember:  once they are gone, they are not coming back. Is this what you really want?" Perhaps these voices are coming from the cameras themselves. Perhaps not.

However, for the reasons I have already stated and for a reason I have yet to reveal, I will not listen to these voices (wherever they come from) and move forward with my plan. First, let's develop a selection criteria that answers the question, "Why should I keep you?"

1.  Do You Work?

I know this sounds like an obvious (and ridiculous) question, but collectors acquire non-functioning cameras all the time. They don't buy them to shoot them. I am not a collector, so I do not need cameras that do not work. For example, until recently I owned a Minolta Maxxum 600si. I really liked the way the 600si was designed in an old school way with control knobs instead of buttons and a menu. However, one of the two control dials never worked, meaning that the camera could never be used in manual mode. That wasn't a big problem for me, as I use aperture priority when in automatic exposure mode. But one day I was shooting the camera when it ceased to fire and displayed an error message in the LCD screen. I later learned that the aperture base plate had failed, and because the part is no longer available, the camera was doomed. So, what to do with it? Toss it in the landfill? No, I sent it to a camera repair person to be a donor camera, so that people who need parts for a 600si could get their camera repaired (along as the problem wasn't the aperture base plate!)

Sometimes the question is "Do you work" but instead "Do you work well or completely?" My Minolta Maxxum 5, for example, works fine except for the built-in flash. And it died an a very inopportune time - my daughter's wedding reception. Not cool.

2.  Have I Used You Lately?

Had any of my camera actual feelings, this question could make some of them very uncomfortable. There are some that haven't been used much, especially lately. Perhaps I have picked favorites that become reliable cameras that are easy for me to use. Others might have fallen by the wayside because they have let me down with their results. My Holga, for example.

3.  Are You a Challenge to Use?

Leica ilia:  Not easy to use but not going anywhere.

This is not always a valid question. My Leica ilia, for example, is more challenging to use than most of the cameras, mainly because the film leader has to be trimmed before the camera can be loaded. Even if you prepare enough rolls ahead of time, the camera still is not easy to load (although I am getting better at it each time I use it). Nevertheless, It's not going anywhere, at least not in the foreseeable future. I like using it. 

4.  Are You Redundant?

What do I need with two (or more) cameras that are very similar in design and function and also produce the same results? For example, in addition to Jonesy's Minolta SR-T 202 (which is a non-negotiable keeper, obviously), I have a SR-T 102 in black. Do I really need both? Sure it's nice being able to "protect" Jonesy's camera from damage during use, but honestly, I think I wanted it because it was black. Mirror lock-up and double exposure capability (which the 202 doesn't have) aren't that important to me, and I now think that Jonesy himself would want me to actually use his camera rather than put it on a shelf. 

Next, let's take a look at my inventory. Here is a list of every camera owned by me that resides at my condo:

Instant Camera

Polaroid SX-70 One Tough SONAR

Medium Format

Holga 120N

Rolleicord Va(2)

Yashica Mat

Debonair 120

35mm Point and Shoot

Minolta AF2

35mm Rangefinder

Leica ilia

Minolta 7s

Zorki 1

Zorki 4

35mm Manual Focus SLR

Minolta SR-T 202 (Jonesy's camera)

Minolta SR-T 102 (black)

Minolta XE-5

Minolta XD-7

Minolta X-700

35mm Autofocus SLR

Minolta Maxxum 7000

Minolta Maxxum 5

Let's go through these by camera type. First, I only have one instant camera, so the Polaroid SX-70 SONAR stays. It once belong to the great uncle of my my wife, Debbie, so it is a family heirloom. I use this camera from time to time for family events, and it works great most of the time. I love to give away Polaroid photographs, and a number of them also adorn our refrigerator. 

Of the five medium format cameras that live in the condo, one is an easy choice for me. Can you guess which one? If you guessed the Holga, you're right! It never caught on with me, having achieved exactly zero memorable images from the half dozen rolls that I have put through it. Maybe the sample is too small, but I don't think more use would have made a difference. The Holga is a perfect example of how easily I could be influenced at the time. It seemed like all the cool kids were using Holgas and getting cool results. But not me. The Holga is first out the door (and it has already been sold. I don't miss it.)

How many of you chose the Film Photography Store's Debonair 120? Nope. It's staying. I like it much better than the Holga. It's a better camera in my opinion, and its vertical 6x4.5 format makes for excellent portraits, especially with a flash. 

The Minolta AF2 is the only autofocus point and shoot camera I own. It it easy to use, has an excellent glass lens, choosable ISO, built in flash, and a manual film advance lever (making it a very quiet camera). If I'm going to a party and I'm not shooting Polaroid, this is the camera I take.

The two TLRs, Rolleicord Va and the Yashica Mat, are a bit of a quandary for me. They both work equally well, and I don't need them both. However, they both were gifts from a close friend who's father owned and used them. I think the Rolleicord has a better lens, but its flash sync doesn't work. The Yashica Mat's controls are easier to use. I really don't like to sell cameras that were gifted to me, so for now, I'm holding on to both. 

When it comes to my four 35mm rangefinder cameras, I feel embarrassed. There is a lot of redundancy there. Let's break it down. The Minolta 7s was a 2017 Christmas gift from Shutter Brother Kelley, and I was so thrilled about it that I took it to Norway a couple of days later. It ended up being my main camera for the trip, and it worked great. It's easy to use, has a program mode and metered manual, and has a sharp fixed 45mm lens. I like its looks and I like using it. 

However, sometime later I became sentimental about the Leica iiia that I once owned in the early 1990's until it was stolen in 1994. Prices had gone up quite a bit since then, and I knew that the only way I would have one again was to settle for a Russian copy. Kelley gifted me the Zorki 1 for Christmas, and I was delighted. Later I came across the Zorki 4 for a steal. Was I becoming a collector of Russian cameras?However, two years ago I found another Leica ilia at a local antique store parking lot sale. The owner appreciated that I knew about the camera, and he gave me a very generous deal on it and it's Elmar 35mm lens. Suddenly, the two Zorkis seemed very redundant, and now it's time for them to go.

Beautiful but redundant.

The five manual focus SLRs are too many, of course. Jonesy's SR-T 202 is safe, so at least two of the remaining four need to go. As mentioned above, I don't need two SR-T model cameras, so it looks like the black SR-T 102 is on the sell list. The other three breakdown as follows:  The X-700 and the XD7 have similarities (multiple exposure modes and compact design), as do the XD7 and the XE5 (products of Leica and Minolta collaboration). I have a particular fondness for the X-700, as it was the second (and last) camera I ever bought new in the box in 1992, and I really like its grip and feel. I am very "at one" with it. The XE5 is a fine camera in every way, and I like its needle-based meter, which works both in aperture priority and manual. After a lot of thought, it looks like the XD7 is the odd camera out.

One of these has go go.

Of the two autofocus SLRs, the Minolta Maxxum 7000 is my favorite. I love the way it feels in my hand, and I have learned to use the two control buttons. The Maxxum 5 is a much newer camera with many more features, but isn't it redundant? Perhaps. But if I decide shoot AF on a trip somewhere and take only one AF body with AF lenses, I am in trouble if the all-electronic Maxxum fails. The Maxxum 5 is small and light and makes a perfect back camera. It's safe for now.

So there you have it. Out of seventeen cameras, I am ready to say goodbye to five of them. Honestly, twelve still sounds like too many, but at least I am making progress. For now, I am happy with what I am selling and with what I still have. 

Or am I?

Next:  Time to Sell Pt. 3:  What Next?

Uncle Jonesy’s Cameras Podcast #57: Still Alive and Clicking

 Life happens, and when it does, podcasts go on hold. But the Shutter Brothers are back with an informal chat about life, travels, and, of course, cameras. And we love cameras! But sometimes we may have to consider getting rid of some of our cameras. Kevin and Wayne discuss the whys and hows of reducing the camera "inventory" and why it might even make us better photographers. 

Wayne also talks about his experience being a judge for a photography contest and how he ended up with a piece of photographic history that once belonged to Ed Wescott, the American photographer who his known for his documentation of the Manhattan Project. You can learn more about Ed Wescott here.

A beach hut for your camera bag!

And speaking of getting rid of stuff, we're in a generous mood. There's stuff in our closets that need to go, and you could be the beneficiary. Listen to find out what and how.

Happy Shooting!

Time to Sell Pt. 1: The Argument

I have said this before, and now I will say it again. Despite evidence to the contrary, I am not a camera collector. I do not buy cameras for the sole purpose of owning them. I do buy cameras for the purpose of making photographs with them. With exception of one or two, every camera I own has had film loaded into it and used to make photographs, and I have the negatives to prove this.

However, I also have a large enough collect - wait, let’s call it my camera inventory - to lead someone to believe that I collect cameras. This and a number of other facts have led me to suspect that not only do I possess too many cameras, but also doing so is ultimately bad for my photography.

Uncle Jonesy’s Minolta. Not going anywhere.

Please note:  I stated that owning too many cameras is bad for my photography, not yours. This article is about me alone, so please do not read into it any kind of judgment. You have the right to own as many cameras as you want, and doing so may actually make you a better photographer. If that is the case, then by all means have at it. But please keep reading and hear me out. I like it when people read my blog posts!

The Argument 

Recently, I have given much thought to the possible negative effects owning a large number of cameras for the sole purpose of using them might have on my photography, and I have reached several conclusions. Some of the conclusions are practical, while others are conceptual. All of them have become undeniable. So, here they are one by one.

1.  Storage in a Small Condo is a Problem

I love my downtown Chattanooga condo It has 690 square feet of paradise. It has everything I want. It just does not have much storage room. When my wife and my moved in, we had to downsize considerably, and this required making decisions (some painful) about which of our possessions were essential to our happiness. We off-loaded a lot of things, and today, we are doing just fine. Happier, even, I would suggest. Possessions can burden you.

However, not only did I not leave any cameras behind when we moved in, but also I’m pretty sure that I have added cameras to my inventory since then. Some of my favorite cameras are on display on shelves or the window sill nearest my bed. Cameras with film in them are kept in camera bags in the closet, ready for use. However, other camera are stored in storage boxes on shelves in my closet. In other words, I seemingly have cameras everywhere. I fully expect to open my refrigerator someday and find a camera in it. 

This is a problem for me, as I don’t like clutter. My wife and I take pleasure in the uncluttered layout of our condo. The abundance of cameras in my condo are a threat to our uncluttered environment.

2.  More Choices are Not Always Good

When the opportunity to photograph comes along, I rejoice. I love to get out with a camera and try to be creative. Opportunities do not come along often enough for me, so the last thing I need is indecision regarding which camera to use. And believe me, camera indecisiveness is a thing. I agonize over it. I even feel guilty about having a nice camera but not using it. “Why am I not not putting film in my Leica iiia or my Rolleicord or my Minolta XD-7? There are people out there who would love to own and use the cameras I don’t use. How can I let them sit on a shelf or even lay in the bottom of a storage box?” And so I give a lot of thought about my choices, and when I finally make a decision, I sometimes question my decision even while I’m shooting. And then it hits me. My choices are infringing on my fun. 

3.  More Cameras Mean More Camera Problems

Let me reiterate that I am not a camera collector. I own cameras for the purpose of using them and if I choose to use a particular camera on a given day, I really want that camera to work. Most of the time they do. However, sometimes they don’t. And of course, those times almost always happen to be important times when I simply must get the shot. It’s the Murphy's Law of photography. Cameras never fail at unimportant times. Some of I own cameras have been serviced (CLA’d) and should not fail, but I also own cameras that haven’t been serviced but seem to work fine. They are, in fact, ticking time bombs. It’s just a matter of time. 

Obviously, the solution to this is to get them all serviced. But just as obvious is the fact that the more camera own, the more money I will spend servicing them. Nothing wrong with that, except that the money I spend on servicing all my cameras could buy more film, chemistry, and paper. Shooting vintage film cameras is fun for certain, but The ultimate goal is to make photographs that I can print and hold in my hand. 

4.  The “At One” Factor

Neil Young and Peter Buck are two of my favorite guitarists, and they both are associated with a particular guitar, a guitar that appears on most, if not all of their records and live performances (for Young, it’s a 1959 Les Paul known as “Ol’ Black, while Buck has played a black Rickenbacker 360 on nearly every record he’s ever made). Because they have used these guitars so very much over the years, it’s safe to say that they long ago reached the point to where they are “at one” with their instruments. They know them inside and out and can call up every possible sound their guitars can make in an instant. 

I would very much like to be that way with a camera. And I have a couple of SLRs that I do feel at one with, because I have owned these camera models for decades. Other cameras in my inventory are less familiar to me and require more time to operate. Certainly, if I shot them more, I would eventually reach “at one” status with them them at some point. But as I stated above, I feel guilty leaving my favorite cameras on the shelf. And anytime I leave a camera on the shelf for an extended period of time before picking it up again, there always will be a “reacquaintance” process, a process that could (and has) caused me to miss a shot. Not good.

The Truth about Cameras and Photographs

Now as you read this, you may or not agree with me. Thats fine. I am not you, and you are not me. You know you. I don’t. However, I will state something something that I believe is true for everyone. Owning a lot of cameras does not make you or me a better photographer. It will make you a better collector, and there is nothing wrong with that. I can be impressed by someone's collection like anyone else. You may even be impressed with my inventory of cameras. But what I really want to impress you with are my photographs. That’s what I care about.

How We Got Here

At the point you may be wondering how and why I got myself into this dilemma in the first place. “Wow, why do you have so many cameras?  You must be a collector.” Good question. Here is what happened. When my brother and I got our cameras out of the closets in the spring of 2017 after not having used them for several years, our passion for photography was reignited and burned hot. We shot rolls and rolls of color negative film, developed it at home with C-41 kits from the FIlm Photography Store, scanned the negatives with our Epson scanners, and posted them online. Then we would have long conversations about what we had done and what we were learning. We also talked about cameras we were seeing for sale at antique stores, thrift stores, and flea markets. We were amazed at what we found. They were cameras we had admired and wanted back in the early 1980’s when we first began our film photography journey but could never afford, and now here they were forsake for $10 to $50 dollars. It seemed like such a shame to leave them there not doing what they were made to do, so we “rescued” them. 

It goes out of hand, of course, at least for me. Soon I had more cameras than I had time to shoot and had space to store. So here we are. Now it’s time for some Hard Decisions.

Uncle Jonesy’s Cameras Podcast #56:: A Carol for Clickmas

You’re invited to a special holiday gathering for people who love family and film.

Seasons Greetings from The Shutter Brothers!

Uncle Jonesy's Cameras Podcast #55: Flash Done Right (and Flash Done Wrong)

The Shutter Brothers are back! We know it has been a while (and Wayne and I have really missed you!), but I've had some family issues to work through, leaving no time for podcasting (or photography, for that matter) until now. So, we have some catching up to do!

Our show begins with a recap of our 2022 Uncle Jonesy's Camera/Safelight District Photowalk at Laurel Snow State Natural Area near Dayton, Tennessee. It was a complete success, and thanks to everyone who participated. We loved seeing your photowalk photos online, and Wayne and I hope to have ours out soon.

Next, I reveal my choices of cameras for my trip to Montreal and Quebec City the first week of December.  Yes, you heard right. I will be shooting my Panasonic Lumix LX-5 digital camera for color photography. However, I settled on my Minolta XE-5 SLR for black and white. Find out why in the show.

My Panasonic LUMIX LX-5, which I’ve had for years but
never really enjoyed using until . . .

. . . I got the LVF-1 live viewfinder. Now I can use the LUMIX 
as if it were a “real” camera. 😉

As for b&w, I’m going with classic tried and true.

Neither Wayne nor I shoot much flash photography, but there are times when flash is a must. Wayne has found a great flash option for his Plaubel Makina 67 medium format camera: the Olympus T32. It has all the functionality Wayne wants, and it looks good, too! Way to go, Wayne! However, over in this corner is Kevin, whose roll of blank film shows what happens when flash is done wrong. Listen to the show to find out how you can avoid making the same mistake.

Wayne's Makina 67 with Olympus T32 Flash

The T32 has a movable head that enables a full range of 
bounce capability.

Another cool flash is the Vivitar 283 with the sensor cord. Put
the sensor on the camera and place the flash wherever you want!

What Kevin was going for with his recent attempt at flash photography was musician portraits in the style of Francis Wolff, the co-founder of Blue Note records. While his main role with Blue Note was handling the finances, he also was an accomplished photographer. He shot over 100,000 frames at nearly every Blue Note session, and these photographs were used for the album cover art. He used a Rollieflex, but Kevin has replicated his style with the "plastic filmtastic" Debonair 120 from the Film Photography Store, which has a hot shoe. Put a flash on it and you can get portraits like this!

Believe it or not, if you put a flash unit on the
Debonair 120, it's capable of some cool portraits
in the style of Francis Wolff.

Finally, the Shutter Brothers discuss using Etsy as a platform for selling their prints. Does it work and is it worth the time? Listen to find out.

Kevin's darkroom prints can be found in his Etsy store, Chattalogphotography.

You can visit Kevin's Etsy store by clicking here.

As always, we love hearing from out listeners. If you want to contribute for a future show, you can send your questions, comments, tips, stories, and even voice memos to unclejonesyscameras@gmail.com. You also can follow us on Facebook and Instagram, and feel free to leave your feedback there.

Now load that camera and capture some holiday magic!

Uncle Jonesy's Cameras Podcast #54: A Camera for Canada

In case you haven't heard, we're having a photowalk! Wayne and I are super excited, and it's just a few days away. Here are all the details:

2022 Photowalk with Wayne Setser

Presented by Uncle Jonesy's Cameras Podcast and Safelight District Community Darkroom

Saturday, October 22 beginning at 8:30 am EDT

Laurel Snow State Natural Area (near Dayton, Tennessee)

Lunch and conversation afterward at Monkey Town Brewing, Dayton, Tennessee

Free!

You can let us know you are coming here.

Next, my wife, Debbie, and I are taking a week-long trip to Montreal and Quebec City in December, so what camera(s) should I bring? The weather will be cold, and there will be lots of walking, so keeping the gear to a minimum is a priority. Fortunately for me, Wayne and our knowledgeable listeners are here to help me decide.

The Minolta Maxxum 5:  a modern choice

The Leica ilia:  classic vintage

Wayne and his wife, Teresa, are planning trip to Norway next year, and if he were to shoot 35mm film, his camera of choice would be a classic compact rangefinder, the Canon Canonet QL17 Giii. Wayne's copy looks resplendent in its blue leatherette.

Wayne's Canon Canonet QL17 Giii with Canolite D flash

Speaking of good travel cameras, the 3A Kodak Series II folding camera certainly is not that, but it was a fine camera in its day. Wayne's copy is in excellent condition; all it needs is a roll of 122 film. Where can Wayne get that? A super helpful listener comes through with a source.

The 3A Kodak Series II:  a whopper!

Lastly, the UJC Podcast now has over 400 Instagram followers, and to celebrate, Wayne and Kevin give away prints to two lucky winners.

Thanks to all the listeners who offered camera advice and also those listeners who sent us questions or tips. As far as we are concerned, all of you are on the UJC Team! If you want to contribute for a future show, you can send your questions, comments, tips, stories, and even voice memos to unclejonesyscameras@gmail.com. You also can follow us on Facebook and Instagram, and feel free to leave your feedback there.

Thanks for listening! Now let's get some pitches!

Uncle Jonesy's Cameras Podcast #53: Third Time's the Charm

In this information-packed show, we are super glad to announce our 2022 Photowalk with Wayne Setser, to be held on Saturday, October 22, at 8:30 am at the Laurel Snow State Natural Area near Dayton, Tennessee. As most of you know, this is our third attempt, having been thwarted once by the coronavirus pandemic in 2020 and again by dangerously stormy weather in 2021. So, as the title of the show suggests, we have a good feeling about this one.

You can get all the details by listening to the show, and you can let us know that you are coming by clicking here. We couldn't be more excited about the prospect of getting to photograph with some of our listeners in person and going to lunch together afterward. If there is anyway you can make it, please consider coming!

In our second segment, Wayne and I read an email from Billy Sanford regarding making negatives that are easier to print. Since both Wayne and I shoot film with the intention of making darkroom prints from our negatives, this question is really important to us. Wayne's helpful tips certainly caught my attention, and they may be of use to you.

Our third segment is a camera review (and yes, it's another Minolta). the Minolta Maxxum 5 wasn't even on my radar until about a year ago when I read an excellent article by James Tocchio on his fine blog, Casual Photophile, the title of which is We Should All Be Shooting Dorky AF SLRs and Here's Why. Even though the title of the post did not mention the Maxxum 5, it definitely was his dorky AF SLR "poster child," as he uses the Maxxum 5 to make his point. I recently had the opportunity to get a clean and functional Maxxum 5 with the original 28-80mm kit lens for about $20.00, and I have to say that it is one amazing camera. Even though the camera clearly is intended to be used by beginners to advanced amateurs, it feature lists goes on and on. I've never seen so many professional level features in such a small and light SLR body. When combined with my excellent Minolta AF prime lenses, could this be my "forever" 35mm camera?

We wrap of the show with a contest, and two lucky listeners will receive prints from Wayne and myself. Listen to find out how to win.

As always, we are so very thankful for each and every one of our listeners, and we would love to hear from you. You can send your questions, comments, tips, stories, and even voice memos to unclejonesyscameras@gmail.com. You also can follow us on Facebook and Instagram, and feel free to leave your feedback there.

Thank you for listening! We'll see you at the 2022 Photowalk!