New Photos from Upper Antelope Canyon Cave, Arizona

 

I received numerous comments regarding the photos I took in the Upper Antelope Canyon, Arizona. Here is the link to my preview post: https://liveingray.blogspot.com/2024/09/upper-antelope-canyon-on-navajo-land-in.html

The readers were surprised that a 1980’s film camera, a Minolta X-700 and a lesser known lens, the Soligor 20mm f2.8 wide angle could take such sharp and contrasty photos in a dimly lit cave on ASA 100 film, handheld. And many asked if there were more that I can post.

Previously, I had printed, under my vintage HANSA enlarger, a few photos I chose from reviewing the negative strip. Based on the request of readers, I went back and chose a couple more to print.

The photo atop this entry has a single source of light resulting in a depth of field often seen in similar shots, although most are made with professional medium or large format cameras on a tripod. My photos are handheld and on 35mm film, adding the challenge I like when using vintage cameras and lenses.

The photo below has multiple sources of light, coming from cracks and small openings in the cave ceiling. I like the originality of this one more as I believe it gives the viewer ample space for imagination and personal interpretation.

Many thanks to my readers for their comments and hope these two new photos will excite a few of them to dust off their vintage camera and get back to film photography!

 

November 9, 2024

© Vahé A. Kazandjian, 2024

Double Exposure on Film: the Quantum Spacetime of Photography?

 

 

It will be Halloween soon and yesterday there was the Fall Arts show downtown.  It was time for my 1979 Mamiya 645 1000s to get some exercise hanging from my neck while walking around.

I came across a re-enactment of how Prescott was in the 1800s, and decided to take a few photos.

After I clicked once, a young man came to me curious about my camera.

“That is an antique!” he started, “and I could hear the shutter from 20 feet away.”

“It is the large mirror falling,” I said “yes, old medium format cameras are not made for photo taking during a piano concerto.”

“My Nikon is mirrorless,” he proudly continued, “It is the latest technology.”

I slowly winded the film turning the noisy winding crank.

“And it has a crank?!”

“It does, just like cars had in the 1920s” I said in a serious tone.

“So, you use film, an antique camera with a crank, and try to focus through a waist screen. Tell me, why?”

“I suppose for the same reason some people still enjoy driving and repairing vintage cars – for the companionship between tool and user.”

He started laughing and I noticed he had perfect teeth.

“Do you drive a vintage car?”

“Well, mine will qualify as vintage in 4 years and I will get a plate that says so” I responded.

At this point he was keen on seeing my photos.

“Can I find you on Facebook? Instagram? Snapchat?”

“Tell you what, you will not find me on any of these sites. But I will give you the link too my blog – check it out after a couple of days, since it will take me that long to develop the film, hang it to dry, then use my 1950s enlarger in the darkroom to print photos, hang them to dry, then scan them so I can post on my blog.”

“And now a blog!” he exclaimed. “Yes, I will check.”

 

After he left, I wondered what my antique camera can do that his mirrorless wonder cannot. As I was in thought, my eyes fell upon the “MULTI” switch on the right of the camera body. That is for taking multiple exposures on the same film frame. I had used it once decades ago just to try it and the photos I got were not for street photography. Maybe for creative landscape shots, but not for capturing events in the streets.

I had no idea if modern digital cameras can take multiple exposures on the sensor they harbor. But I decided to try it on film.

… The photo at the outset is a double exposure – I switched the lever to “MULTI” took one shot, cocked the shutter via the crank which now did not advance the film, and took another shot a few seconds after the first one. Of course by then my camera hold had slightly shifted and the enactors had moved. So I had no idea what to expect, and even if that function still was working on the Mamiya.

I find it an interesting composition, and of course I love the Mamiya Sekor 150mm lens I used.

The woman shading her eyes from the sun has a second “her” superposed lower, as my hold of the camera was lower for the second shot. But she had already moved making the photo sequence an active one. Par contre, the woman on the right had remained still, perfectly. The tree branches are almost symmetrically placed in both shots, although the post upon which the first woman is resting her left hand has a slight displacement due to my camera movement between the shots. And, to the background of the first woman one can discern a cowboy hat, and a woman with an umbrella.

The most interesting movement is the man with a cowboy hat that is seen right in line behind the head of the first woman and who was not in the frame with the first shot – he had just walked by during the seconds between the two shots!

 

The photo at the outset was the first print I did of that frame by exposing the photographic paper 10 seconds under the enlarger light. The dark areas were contrasty but seem to be hiding more people and events. So, I tried another print this time with 8 seconds exposure.  Here is that photo:

This underexposed version tells a very different story – the woman with umbrella was there all along holding hands with the man wearing a cowboy hat, but the 10 seconds enlarger light exposure had totally covered them in black! Now, we can see them both in the first shot, and also in the second superimposed one as they too had moved forward and do not seem to be holding hands. What I love about this detail is that we now have the couple in profile in the first frame and in portraiture in the second – lovely!

 

… As I looked at the two printed photos and the magic of double exposure on film, I could not resist thinking about the concept of timespace in Quantum Mechanics. Simply put, some aspects of our space and time that are continuous, freeze or stop “commuting”.  Time is certainly a commuting concept – it moves forward, but also can go back. Space is less easily understood as changing, unless one thinks about the warping and expanding of the space concept proposed by Einstein.

Quantum spacetime puts these two concepts together and proposes that what was fluid, changing or moving can stop being so, or they get “quantized” – hence the term “Quantum.”

Well, in double exposed film frames, the movement and the space around the movement have been frozen yet we know they moved. And the resulting new form, as if timespace, is now broken into smaller segments. In a funny way, I think about this scenario as the “fabric of frozen movement” (my definition.)

 

… More importantly, I wonder if the young man will indeed check my blog and perhaps send me an email about his impression of the photos.

Or, maybe he just went to his friends and said:

Guess who I met today?  A photographer stuck in the 1950s! And he had to wind up his camera with a crank so it can shoot!!!”

 

October 6, 2024

© Vahé A. Kazandjian, 2024

A Vintage Soviet Medium Format Camera at an American Classic Corvettes Car Show

 

 

Prescott, Arizona, is home to one of the most popular vintage Corvette car shows. Among the reasons is the dry desert weather that preserves cars from rust and other damages. Also, many of the retired residents have enough space on their house land to build large garages often transformed into classic cars restoration. The king of these cars is the Corvette, a symbol of American muscle cars.

There is an annual Corvette car show downtown Prescott, and thousands of visitors marvel at the pristine restorations of Corvettes many more than 60 years old. For me, it is also an opportunity to take a vintage film camera for street photography.

Yesterday I decided to take one of my 1972 Soviet medium format Salyut S camera for that sortie. A few days ago I tested the camera with the 90mm Vega 12-b I had used decades ago, and while the camera worked fine, the lens was frozen. Thinking that the blades got stuck from years on inaction, I proceeded to open the lens and get the blades back into action. Unfortunately it was more complicated than that as the automatic blade control mechanism had broken.

.. In the 1990s, with the advent of digital cameras, film and mechanical cameras were sold or even given away as they were deemed relics of a glorious past. I acquired a number of classic cameras during that time period, especially focusing on getting two of the same models so I would be able to perform “organ transplant” since mechanical camera repair professionals were getting as extinguished as the users of these photographic tools were.  I have two of these Vega lenses, and I decided to rescue the ailing one:

To my surprise, when I took the rear cap off the second lens, I realised that I had already, a couple of decades ago, harvested parts of that lens! As for many vintage Soviet lenses I have, it used to be popular for whoever repaired or re-calibrated a lens to scratch the new calibration parameters on the inner metal surface of the lens, and often, with the edge of a screwdriver, carve their name. I suddenly saw that I had done the same thing when I repaired that lens decades ago!

Here are the partly dismantled optical elements of the non-functioning lens and my name carved on the inside of the “donor” lens:

So, at least for now, I will not be able to use that Vega lens for the Corvette show.

 

The next possibility was a monster lens not made for street photography, the Soviet Kaleinar 3B 150mm f2.8. It is a stereotypical Soviet lens being all glass and all steel. It weighs 1100 grams and fitted on the Salyut camera (1420 grams) one will have 5.6 pounds of weight hanging from the neck! What is more challenging though is the focusing – one has to turn the ring more than one rotation to get into focus, and even then, the weight of the outfit and the non-friendly pressure the shutter release requires make the steady holding of the camera impossible.

Here is a size comparison between the Vega and Kaleinar lenses:

 

Needless to say, the Kaleinar was not built for street photography, rather for portraiture on a steady tripod. And I have used this lens decades ago for portraiture, always handheld, and never in a sunny setting as it flares easily and loses contrast. But the portraits I took had a unique charm – a pronounced bokeh even at f5.6, and a “proletarian” feel to the captured moment, compared to what one got from Japanese lenses of the era. It was a down to earth capture that did fit the character of most people I captured on 60 or 100 ASA film.

Ok, I tested the lens, it was working fine and out to the Corvette show we went.

The photo at the outset of this page is the first one I took at the lens’s minimum focusing distance of 1.8 meter, the diaphragm closed to f16 and the speed set to 1/125^th seconds. The desert sun was at its zenith and there were reflections on the glass and metal surfaces of the 1956 corvette’s cabin. I did not expect much from this shot, but surprisingly, there was little flare and sharpness and contrast were acceptable.

My second test was at f8 and shutter set at 1/250^th seconds. I wanted to capture the spirit of folks admiring the corvettes and the head of an alien the owner of this car placed in the cabin allowed to experiment with lens sharpness and out of focus frame areas. I find this photo quite delightful.

It was time to test the bokeh of the lens taking into account the light transition between the foreground and the background. As I had seen before the Kaleinar exhibits significant, albeit less than smooth bokeh even at f5.6 which was the set aperture for this photo:

Another test of test was at f11 and shutter speed of 1/125^th seconds focusing on an artwork across the street, about 25 meters away. It was the life size sculpture of the most common predator we have in Arizona – the coyote. We almost see them daily around our houses making walking a dog a challenge.

The sculpture was made of scrap metal, nuts and bolts allowing me to test the sharpness of the lens and the contrast it displays:

Finally, an example why quick framing and focusing, hence street photography, is not really possible with the Kaleinar. People were walking near a corvette and I wanted to capture both the walkers and the car. Unfortunately by the time I focused (or tried to) and clicked, the car was mostly covered by and the frame was badly focused:

 

So, the performance of the lens and camera were still very acceptable, and I may use the setup for portraiture again. Most importantly, I was pleased to have a vintage camera at a vintage car show. In some way, both the owners of those cars and I have one thing in common – owning, maintaining and using a tool or machine from a past era makes us partners in the process, rather than passive users of technology that is programmed to be predictably functional but often override our desires of the moment.

.. Talking of functional, I have to decide if I want to spend hours taking the broken Vega lens apart, just for the challenge of it...

PS/ as always, I was probably the only one, among the thousands of people, who went to a classic muscle-car show and did not take photos of the cars.

 

September 29, 2024

© Vahé A. Kazandjian, 2024

Upper Antelope Canyon on Navajo Land in Arizona – a Symphony of Light and Shape on B&W Film

 

 

A recent trip to Page, Arizona included the tour of one of six canyons where light, shape and colour provide dramatic optical delights.

The Navajo Upper Antelope Canyon is called Tsé bighánílíní in Navajo language meaning “the place where water runs through the rocks.” Rainwater during the monsoon season (heavy rains for a month or so) created flash flooding and eroded Navajo Sandstone and created passageways and corridors while polishing and smoothing rough edges in the sandstone. This resulted in shapes that flow like the water passage, and openings atop the walls of the canyon. The light that filters through such open passages creates delightful, somehow psychedelic colours and shapes.

The canyons are the main attraction of the Lake Powell Navajo Tribal Park and access to these canyons are only possible through guided tours by Navajo.

Needless to say, I was intrigued by the photo opportunities such a tour can provide. However, since I do not own or use digital cameras, the challenge of using a vintage film camera, without flash, and slow 100 ASA B&W film provided the challenge I always desire. However, just in case I wanted memories of the promised colours, I opted to rely on the “camera” of my phone…

The evening before the tour I saw a huge square frame in a field as if to frame the background scene. As I was trying to solve the mystery, a young boy appeared out of nowhere and sat in the frame. The street photographer in me immediately pointed the camera and clicked. The boy got up a few seconds later and walked toward the house on the left.

Here is that photo

 

And a cropped section showing the moment

 

What a delightful moment that was when the frame, the field, the boy and the evening sky came together in harmony!

The next morning on the way to the Navajo Tribal Park, I drove by a number of Navajo jewelry stands by the highway. Most were simple open structures where silver and turquoise handmade jewelry are sold by tribal artists. But then there was the one shown atop of the page! I just could not resist pulling over and taking a few photos using my 1981 Minolta X700 camera sporting a 1972 Soligor 20mm f2.8 lens. The banner featuring a Navajo grandma, her grandson, the jewelry stand, the mountain and the white truck described the environment perfectly

That photo is atop this entry.

… Once on the guided tour of the Upper Antelope Canyon, I realised why it is a very attractive place to visit. The light from the openings of the canyon walls filtered gracefully to create form and colour in the most abstract way. As such, the observers were provided to interpret what they saw. The ultimate set-up for guided pareidolia!

So, I opened the lens to its fullest (f2.8) and set the shutter speed to 1/15^th of a second and finished a roll of film hoping that some will be “artistic” enough given the camera shake and the unpredictable sources of light. In a few settings, when my own pareidolia let me to “see” shapes, I took photos with both the real camera and with my phone to see how colour tells a different story from B&W.

Here are a couple of examples:

The angle of view in this photo reminded me of an avian head. The digital version of that view was as follows:

When I printed the B&W film version in my darkroom, I discovered TWO birds!

 

Regarding this second photo, I just liked the multitude of shapes that in my mind could swirl in a monochromatic version.And here is what came out in the developing pan, under my darkroom’s red light:  :

 

Now I saw a small shark (bottom left) trying to grab an enormous seahorse (top half in the middle)!

However, if the canyon was naturally in the shades of gray, it would not be as spectacular. People from around the world would not come to Navajo land to experience the changing colours and shapes with the changing of daily light filtering through the openings of the canyon walls. And for capturing that feeling, colour photography is essential.

Here is one moment I caught when light coming through the tunnel passage and and a small hole in the ceiling of the canyon gave us a spectacular display:

What my eyes saw

 And what it would be if the world was monochrome...

… A visit to a canyon, formed by the sedimentation of sandstone sand washed from higher mountain basins to carved passages through the Navajo Sandstone was a photography experience I had not attempted before.  My goal was not to take photos of the canyon -- for that I would have used medium format cameras (probably my 1948 Rolleiflex TLR), a tripod, and flash light. Instead, I wanted to capture a story behind what light and shape can "write" on cellulose, stories that the eye may not see when being "distracted" by colour.

Yet, on that trip, I found a couple of moments to be what I have been for more than half a century – a street photographer!

 

PS/ I shared the canyon photos (in colour and B&W) with a friend who had toured the canyon. Her interpretation of the “avian photo” was:

“ .. looks like an ostrich turning his head and squawking at the person who just plucked his feather.”

The joys of interpreting abstract art…

 

September 17, 2024

© Vahé A. Kazandjian, 2024

Expired Film, Expired Developer Solution and the Revenge of Unappreciated Photos

 

 

A couple of weeks ago, I wanted to test if a film roll, expired 6 years ago, will still have enough sensitivity to capture moments from a very dimly lit theater where a local band was performing. Adding to the challenge, I loaded the film in my 1954 Leica IIIF Red Dial and put a 1948 Canon Serenar collapsible lens that was very fast for the period at f1.9. Here is the combination and a close up of the lens:

 

The lens is a collectible, but a poor performer in sunny situations. I have rarely used the f1.9 setting, as f8 seemed to be the most acceptable setting for street photography. As for the Leica, I have owned and used it for decades without maintenance. The speeds slower than 1/25^th seconds are now erratic, but 1/100^th seconds and faster are still perfectly acceptable. I knew I would need to test the 1/25^th seconds speed along with the “freshness” of the ASA 100 film.

But in the theater I encountered two new challenges – the stage had spot lights on the musicians but the rest of the space was lit with red lights! So, it was very difficult to even see the musicians through my ancient viewfinder – I had to resort to zone focusing, hoping that someone on that stage will be in focus!

When I developed the film, I was delighted that all frames were well exposed. The film seemed still in fine shape even though I had not kept it in the freezer like many rolls I have.  And under the loupe, I could tell that the zone focusing had worked with smooth tonal transitions and decent focusing. Here is the frame I developed (no chemical contamination on the pellicule!) and a section of the developed film strip showing perfect development:

When I prepared the chemicals for printing a few frames, I realised that the film developer solution was older than I like. But, eager to see how the prints would come out, I was delighted to think that it is only appropriate to have an “expired” developer solution while using an expired film!

So, I chose a frame, exposed the photographic paper for 45 seconds under my enlarger and let the white sheet into the developer solution expecting that magic of a photo forming in a few seconds. When I took the paper out of the solution pan, I realised that the developer solution was too old as it was a bit syrupy over the paper.

So, I tossed the exposed paper in the trash bin without going to the next two steps of dipping it in the “Stop Bath” pan, and then into the “Fixer” pan. Since the negative was excellent, I decided to try again when I mix a fresh Developer Solution.

And I forgot about it all.

Yesterday, as I was emptying my trash bin, I saw that printed photo. Over more than 10 days, the chemicals in the expired developer solution had run chaotically over that paper and crystallised in the most delightful way!  So, I took the unexpectedly “artistic” photo to the sink, washed the crystals and hung it to dry.

Too be honest, the photos I took were just to test the equipment – pure curiosity by someone who always tries to get the most from old tools, enjoys old methods of using the tools, and celebrates all surprises. In this case, the unexpected touch of the developer solution’s chemicals made the photo one I will remember.

And, to realise that really, I had no participation in the process. All I had done was to throw the “half-baked” printed paper in the trash bin. Now I learned a wonderful lesson – never disregard the ability of the ordinary to, somehow, become extraordinary!

Maybe I will use this photo as one would use the Rorschach inkblot test – see what people will see depending on who they were and what they have become. I sure have my own interpretation about this band playing in an underwater cave surrounded by aquatic sponges gently swinging to the New Orleans jazz rhythm and flow...

 

September 3, 2024

© Vahé A. Kazandjian, 2024

Prescott, Arizona 2024 July 4th Frontier Arts and Parade Through Nikon’s Most Loved and Least Loved Film Cameras

 

 In the past few months, I have revisited some of my vintage cameras that I had not used for a while. I often get the curiosity to walk the streets with cameras that I have used decades ago, perhaps driven by memories or the curiosity to discover what I had not appreciated before.

The camera I have most memories traveling around the world hanging from my neck, out of dozens of vintage film cameras I have, is the 1960 Nikon F. Not only has this camera redefined photojournalism, but its ruggedness has been proven unequaled by war zone photographers. I have had the camera for more than 40 years, ran miles of film through it, never needed repair, and the Photomic light meter still works perfectly.

The camera I have no memories by is the Nikon FG. A friend gave it to me in the 1990s when his father passed away and he found it in the attic. It is the most unattractive Nikon film camera in my opinion and by “Nikonians”. It is plastic, too small for my hands, too light for staying in focus when I need to turn quickly for a street moment, and it needs batteries to function – a non-no for me! Plus, it has the most uncomfortable rewinding lever, made of two folding pieces that resembles a broken finger.

So, I decided to load the most loved Nikon F and the least loved Nikon FG with 100 ASA B&W film and go to the July 4^th Frontier Arts Show and the street parade in downtown Prescott.

Here are the two cameras

 

The lens on the Nikon F is the venerable Nikkor-S Auto Non-AI 50mm 1.4 1950’s version.

The lens on the FG is a 1967 Nikkor-P Auto 180mm 2.8, originally Non-Ai but factory upgrade to AI.  I wanted to see how the Aperture Priority of the FG metering will work with the primitive coating on that 60 year old lens.

 

… I saw a friend downtown, a connoisseur in arts who knew about my proclivity to ignore parades and look for photos of people.

“Any photos of the parade?” he asked.

“Not yet” I said.

 

Photos with the Nikon F and 50mm 1.4 Nikkor-S Auto Lens

 

 

On My 13 2024, a memorial structure was erected for the Granite Mountain 19 Hotshots, firefighters who died fighting the June 2013 wildfire. Given the hot weather of the desert, Arizona is constantly at risk for fires that spread quickly and firefighters have a special place in the hearts of the residents.  The memorial consists of a beautiful statue immortalizing firefights, as well as the names of the fallen Hotshots carved into two huge granite slabs.

The sun was positioned to display a perfect shadow of the statue on the granite and I wanted to test the Photomic meter’s ability of capturing the tonal progression between the statue, the shadow and the bright white granite.

Just as I was pressing the shutter, a woman sat behind the statue and her face was beautifully framed by the curvature of the statue’s legs. Plus, there were artists’ kiosks in the background placing the shot in the context of the July 4^th Art show and parade.

When I developed the roll of film, I was delighted by the lens and light meter – the photo has that vintage feel, the soft tonal transitions yet sharpness of the lens, all bringing back memories of photos I have taken on four continents.

 

The second photo I chose from The Nikon F is actually from the parade, again testing the light and shade transitions via the 50mm lens. I waited till the group of women wearing frontier day attires bass by and get into the bright light to focus on the man, again following them holding a shotgun. And the result was as I had hoped – pleasant bokeh and depth of field, a lot of action, and a body posture by the man in black one can see in 19^th century photographs from the Southwest.

 

 

Photos with the Nikon FG and Nikkor-P Auto 180mm lens

The main reason I opted for the 180mm lens is that is long and heavier (880 grams) than any Nikon 180mm lens made after 1970. I felt that I could stabilise the light and small FG camera better and maintain a good focus. I was wrong – the plastic Nikon never fit well in my hands and rewinding the film with that “broken finger”, two piece winding lever did not allow for quick follow up shots.

However, I saw a painter working on a new work in front of his kiosk on the other side of the road where the parade was taking place. He was about 35 meters away (as I gauged by the focusing ring of the lens) and he was not moving. He was in total shade so I opened the lens wide to f2.8 to test the Aperture Priority metering of the camera.

When I looked at the developed pellicule, I could see the painter was very dark, there were flaring corners on the left side of the frame, but I liked the composition. So I did quite a bit of dodging to bring the painter out, and burning to lighten out the canvas he was painting on.

While the metering is not the greatest and the tonal transitions are rough, the finished photo (atop the page) is a tribute to Nikon’s lens. Even at f2.8 and not being multi-coated, the sharpness and definition of the lens produced a photo of the painter that looks, well, almost like a painting!

 

 

This second photo is about the parade, taken at an aperture of f8. Again, the two ladies were too dark and the street and horses too bright. Not only I did not enjoy handling the FG, I found the metering not conducive to variable light transitions hence creative planning. And the poorly dampened mirror flap is louder than a 1950’s Soviet Kiev medium format camera!

A bit of darkroom work on this frame as well, and again, the beauty of the lens came through. The focus on the lady’s patriotic cowboy hat yielded perfect sharpness and the blurred foreground is smooth and captures the movement of parading horses.

 

Concluding Thoughts

I learned photography when there were no batteries small enough to fit into the frame of a camera. When the top shutter speed was 1/250^th of a second, and when lenses were not coated. With such “primitive” light boxes, the focus was on the creativity of the photographer in using a few adjustments to fit the moments’ challenges regarding light, shade, and movement.

I still used such tools, even when they got more sophisticated and versatile in the 1960s.  The Sunny 16 Rule for synchronizing between lens aperture and shutter speed is all one needs for street photography with B&W film. Of course, microphotography and taking photos of the moon need the wonder tools of today.

And in all this, perhaps in part because of nostalgia for the golden years of B&W photography (1940-1970), the vintage feel one gets from old lenses and ASA 60-100 B&W film is unduplicated with modern lenses and all the AI assisted manipulations of digital pictures.

Yes, I cannot erase pictures and keep on clicking more with a film camera. I have to think and anticipate knowing I have one chance to capture what I have in mind. And then will work in the darkroom, mix chemicals, and use a dim red light to develop and print a few photos.

But it remains a pure joy to recall the shutter sound of a 1969 Nikon F when squinting my eyes to focus the frame on photographic paper, under a 1950’s enlarger!

And when the white paper metamorphoses into a photograph in the developing tray, I know it was a the result of a collaboration between the photographer and his camera.

 

July 8, 2024

© Vahé A. Kazandjian, 2024

A 1954 Canon Rangefinder Camera and 50mm f1.8 Lens : Street Photography with Wide Lens Opening

 

I like using vintage cameras that are known to be eccentrically engineered or have original lenses that are average, at best. And the reason is simple – I believe that such cameras bring the best in a photographer in thinking about how to bypass these limiting factors and plan for a shot that sometimes can envy the most celebrated photographic tools of the 1940's and 1950's.

Of course, the ultimate result, or at least the final one, is decided in the darkroom, first in experimenting with the development time of the negative strip, then under a vintage enlarger that is just a lens, enlarging glass and a 40 watt light bulb.

… So, this weekend I decided to take my 1954 Canon rangefinder Model L3 to a gathering on the city square of Prescott, AZ where artists and territorial days’ cowboy reenactors allowed the public to know more about the past and present characters of Prescott.

First, about the camera which I have owned and used for decades.

The Model L3 is a simplified version of Canon rangefinders of the 1940's and 1950's. These were the golden years of rangefinder cameras and Leica was the undisputed favorite of professional and advanced amateurs of the days. And for all the good reasons, pushing Soviet, Japanese and to a lesser extend American companies try to get a slice of the market. It was all rangefinder then, till Nikon, in the misd-1960s, came out with the venerable Nikon F and established the dominant superiority of the SLR as the most versatile professional camera.

Yet, in the 1950s, Canon had introduced many advanced features to its rangefinders that Leica did not have. These included incorporating selectable viewfinders thus minimizing the need to use various external viewfinders for the most commonly used focal length lenses; loading the film by opening the back of the camera rather than struggling with the “bottom feeding” of Leicas, and having a single viewing viewfinder instead of the two step viewing-focusing and framing of the Leica models.

But, no competitor of Leica was able to “design” that poetry of holding a rangefinder that worked like a Swiss watch, sounded like the first morning breeze of a July day, and had the ergonometric of a heirloom piece of jewelry.

To make the point, here are my Canon Model L3 and Leica IIIF Red Dial, both from 1954. I sometimes called the Leica around my neck akin to a “male necklace”, and the Canon an unassuming and totally reliable photo maker.

Ok, so my experiment this week end was to use the magnificent Canon 50mm f1.8 lens at wide aperture, hence as high speeds during the high noon sun of the desert. This, I had never done before since I favor using the Sunny 16⁽¹⁾ rule for quick shots – leave the speed at 1/125^th of a second for ASA 100 film, and shoot either at f11 or f16 for rapid follow ups. My experiment was to shoot at 1/250^th and 1/500^th second in bright sun by opening the lens diaphragm wider and exploring what effect the lens would have on the background. And to try f4 at those speeds if I could find shady spots.

To do this, I needed to rely on a light meter. So, I took a 1940's Kodalux (by Kodak, of course) cold shoe mounting selenium light meter out of retirement to see if it was still able to react to light appropriately.  Here is that vintage light meter:

 

 

Pictures

 

The Nordic vessel

 

The photo atop the page is about an art kiosk where the artist had displayed his woodwork using fallen wood in the desert. Branches from indigenous Arizona desert trees made most of what was displayed. The main work was in oiling, polishing the natural shape of the wood as the artist found them.

As I worked around the kiosk, at a certain angle, I could see a Medieval, almost Nordic sea faring vessel. To blur or minimize the background and enhance my vision of the “vessel”, I decided upon a shutter speed of 1/500^th second and a lens aperture of f4.

As I was about to press the shutter, the artist came out of the kiosk, leaned against the tree trunk, and spoke to a visitor.

I took one photo before he moved, and I like the result – he looks like the captain at the bow, cutting through the water!

 

Yavapai county Fallen Officers memorial

 

This is a memorial that depicts an 1890’s law officer looking down at the empty boots of his partner who lost his life in the line of duty. It is a solemn corner of the courthouse front where many stop and hang their heads.

I saw two reenactors walk toward the memorial and I wanted to make this photo an o\”old fashion” one. I took it at 1/500^th shutter speed and f8. The Canon lens captured the transition of shades perfectly, and I was able to get the man and woman holding the white umbrella think respectfully about the memorial and what it represents.

 

The cowboy bar without cowboys

During the art show, there was a reconstruction of the 1890’s cowboy bar to be used as a setting for visitors to dress in the period’s clothing and pose for old time photos. No one was there yet and the tall tree provided plenty of shade for me to try the maximum aperture of the lens.

So, I finally tested the f1.8 under the high noon dessert! Well, it was really shady actually, but for the decades I have owned this lens, I always used the f1.8 indoors, with minimum light, at 1/30^th speed.

I will try to find more moments like this as the atmosphere given by this 1954 lens is delightful.

 

… When I took these photos out of the fixer bath tray and hung them to dry, I was thinking:

“after decades of using the Canon rangefinder, it sure was time to test the camera beyond the Sunny 16 rule framework!”

 

 

Reference link

(1)  https://liveingray.blogspot.com/2023/07/the-sunny-16-rule-in-b-street.html