Finally I find the time to sit down, armed with a cup of mint tea, and write about this year’s Photokina.
For those who don’t know, Photokina is the world’s most important and biggest photographic trade show, held in wonderful Köln (Nordrhein-Westfalen, Germany). Photokina has been taking place from the fifities, every two years, and has always featured the big names of photography (and also some smaller ones). Where the focus of the old editions was, of course, analogue photography, with the advent of digital photography most of the exhibition is dedicated to this thriving world, although a few surprises still lie here and there. Mainly, the Lomographic Society sand, which is also the main reason I went to Photokina.
Rumors are that starting from his year, the trade show will become annual.
I must admit that if you, like me, are new to this sort of things, the whole experience of a trade show can be a bit… overwhelming, to say the least. There are loads of people in every corner, everyone trying to catch a glimpse of the products from their favourite companies or play with some new cameras, lenses or accessories.
First of all, let’s take a look to a big name. This year, Leica has introduced a new film rangefinder, the Leica M-A. It’s a full metal body camera, which comes in either silver or black finish. It has interchangeable lenses (M-Bayonet) and quite interesting technical features: 1s to 1/1000s (and bulb) speeds, support for film from ISO 6 to 6400, hotshoe and a bright wievfinder. The aperture is, of course, dependant on the lens you want to use with the camera. It weighs less than half a kilo, and it’s build quality is, of course, among the best (it’s Leica, after all). The base price is £3800, but the package includes a complimentary roll of Kodak Tri-X 400. Head over to Leica’s website to find out more and shop. Good for you if you can afford it, because I certainly can’t (I’m still a nurse, after all).
Let’s continue our journey through the show with Lomography. Their stand was full of cameras, trinkets, t-shirts, bags, leaflets and posters and postcards and happy lomographers. Three the major products they featured at the show (albeit nothing breakthrough).
- LOMO’Instant Automat Glass Elbrus (baptised by yours truly LIAGE, because the name is quite long and I can’t keep typing it over and over). It’s a LOMO’Instant Automat with a brown leatherette and multi coated lenses. Being an Automat, it’s fully automatic. Aperture is either f/4.5 or f/22 (not that you can say your opinion on the matter). Shutter speed is standard 1/250 or bulb up to 30s. Film ejection is motorized and there is a built-in flash. Works on standard Fujifilm Instax Mini film. (leaflet)
- LOMO’Instant Explorer (the design is new, the camera itself… not). It’s a LOMO’Instant with a new design, basically. (leaflet)
- Sprocket Rocket SUPERPOP! Teal 2.0 (argh, another mouthful… cannot call it SRSPT either because that’s quite unpronounceable). Again, it’s a Sprocket Rocket. The SUPERPOP! version just adds a new colour and few extra aesthetic details. (leaflet)
All in all, Photokina has been an interesting event. My lack of actual interest in digital photography at the moment plus the not-so-steep price of the ticket and the amount of goodies I managed to get back home made me feel not guilty of leaving after a couple of hours of exploration. As much as I am interested in photography, I could not resist the calling of Köln waiting for me.
Okay, so my intentions were good. Armed with my trusty Mamiya C330s and a roll of Kodak Ektar 100 film, I wanted to try and dome some realistic photography for once (realistic as in non-lomographic).
What I ended up with was… well, quite the opposite. You can find the pictures here on the project page.
Okay, so let’s ignore the bad pun that is the title of this post and focus on the main topic.
The Holga is a rite of passage, a must for every film photographer.
Like the Diana, the Holga is a plastic “toy camera”, with a meniscus lens. Unlike the Diana, there are several models of Holga according to what they have as features. Holgas were produced until not long ago by Universal Electronic, Ltd. of Hong Kong, under the guide of TM Lee, creator of the original Holga. Production switched hands in 2015, when another company got hold of the original Holga moulds and tools and kept producing this legendary icon of film photography.
The lens is a basic meniscus type lens, 60 mm, in plastic or glass (according to the model), with apertures of f/8 and f/11, switchable by the user. Focus is done by rotating the lens barrel, in a four-zone focus system: portrait, small group, large group and infinite. As with the Diana, the pictures show vignetting and other aberrations, including light leaks. Also, every Holga is slightly different, so that even in the same setting, two Holgas will never produce the same image.
This beauty has experience a rise in popularity thanks to the Lomography movement, who distributed the Holgas in their store (they stopped, at present). Holgas are still VERY easy to find on eBay, and there are several different models to choose from:
- 120S: standard model, plastic lens, no frills, only one picture size. This has been discontinued for a long time but remains the favourite of many photographers.
- 120SF: the standard model with a built-in flash.
- 120G: called “Woca”, is a 120S with a glass lens
- 120GF: a Woca with a built-in flash
- 120N: the new standard model (I assume “N” stands for “New”), tripod mount, bulb mode and the possibility to change masks between 6×6 and 6×4.5. Models produced before 2009 (I believe) have a non-functioning aperture switch.
- 120GN: a 120N with a glass lens (still named Holga)
- 120FN: a 120N with a flash
- 120GFN: mix the two above and you get a Holga with a glass lens and a built-in flash.
- 120CFN: a 120FN with four built-in colour filters for the flash, selectable with a wheel
- 120GCFN: Again, mix the two above and this is what you get. This is the model I own.
There are also some other models, including a TLR Holga, a pinhole, stereo pinhole, 110 film format Holga and so on and so forth.
There are also several accessories for the Holga, including a 35mm film adapter (which does not have an exposure count, so you have to advance the film manually and kind of guess when to stop), cable release and instant back.
Of course it’s not perfect, there are several issues with each model, mainly affecting the metal clips that both hold the back in place and allow you to attach your camera strap, the film advance mechanisms that tends to loosen the tension thus creating artifacts and light leaks. Most of these issues can be fixed with a roll of duct tape and patience.
I have to admit, I am happy of the results I got with the Holga, it’s a fun camera and has character. I feel I need to know it better so to more appreciate what makes it different from my Diana.
All the pictures above where shot with a Holga 120GCFN on a Lomography Color 400 ISO film.
I did it. I went online and bought off eBay yet another camera (I really can’t seem to be able to stop).
This time is the turn of La Sardina, a 35mm point and shoot released by Lomography with a sardine can in mind (yes, La Sardina actually means the sardine in Italian and no, it doesn’t have anything to do with the region of Sardinia – or Sardegna). It features a wide angle 22mm lens (which is what attracted me the most to this camera), a switch that enables multiple exposures and also a rewind knob that allows you to re-expose previous shots, in true Lomography style.
The thing about this camera that jumps immediately at the eye is the design. Apart from the compact, tin-box size, there are dozens and dozens of different designs of La Sardina, some still in production, some limited editions. Lomography also released dresses, masks that can be applied to change the design of the camera. Not only the patterns and colour schemes are different, but also the materials. The Czar Edition (the one I purchased) is made from steel, the Capri edition instead of a plastic insert has the pattern printed on actual beach chair fabric. Others are made of textured plastic or even cork.
The whole theme of the camera is seaside and nautical life, as the booklets include demonstrate. As always, Lomography has packed with the camera some nice photo books that show what kind of pictures you can expect from the camera. One of them brings real examples of the Ten Golden Rules with pictures taken with a La Sardina. The other is called “The Caviar Diaries”, by lomographer Wil6ka. It is a brilliant narration of a journey for the discovery of caviar that takes Wil6ka from Germany to Ukraine, Azerbaijan, Russia, Latvia and back to Germany, rigorously documented with his prototype La Sardina.
There is a non-standard flash microconnector on the side, designed exclusively to work with Lomography’s Fritz The Blitz flash. Not all camera editions come with it, but those which do feature the flash unit with matching design. Those that do not, can be paired to any FtB flash, including the standard, generic one available from the Lomography shop. Due to this microconnector, there is no cold or hotshoe available.
Features wise, it offers a 22m glass lens, with a fixed aperture of f/8. Shutter speed is either instant (1/100) or bulb. Focusing is done via a two-step system: 60 cm – 1 m, and 1 m to infinity. Quick and simple, after all this is a point and shoot. Cable release threaded socket and tripod mount are available as well. The lens offer sharp pictures with vibrant, saturated colours, that match so well with the Lomography philosophy. Of course, a lot depends on what film you are using. I left today my first roll of film taken in Arundel with this camera to the photo lab, I will be back with the results in a couple of weeks (next lomotour is taking me to Poland).
One of the nice features that comes in handy (and that more cameras should have) is the small rectangular window on the back door, that allows you to see what kind of film you have inserted into the camera. Lomographic beauties like the Diana and the Smena do not feature any sort of holder or window, so it’s easy to forget what you actually have inside if you don’t use it for a while.
Ir is really easy to use and quick too. The shutter is very silent, making it a good stealth camera for all those lomo moments that fill our days. The metal body is not too heavy, but gives the camera a sturdy feeling and it is pleasant to hold.
Finally, let’s talk about the package. It is just awesome. The camera comes packed in a wooden box, like the ones that contains fruit and veggies at the market. Inside, there is the camera itself, the FtB unit, a matching lens cap and four colour filters for the flash. Also the usual Lomography poster/instruction booklet and a couple of photo books featuring the camera. Really cool, I must say.
This might not be the sharpest or the best point and shoot money can buy, but its design and dimensions are quite impressive and stand out from the crowd. Overpriced for sure, like most Lomography products (hey, as much as I love the company I still have to pay my bills at the end of the month, like everyone else!) but this time it looks like things have been done with even more care than usual. The attention to the detail is stunning.
If you want a cool camera, that’s fun, easy to use and offers a quick approach to film photography and lomography, you should really consider a La Sardina – just pick your style and get going.
Note: I started this post in May 2018, hence the date, but I just finished editing it and adding the picture. It is quite long overdue.
Instamatics are possibly among the most commonly found film cameras in charities here in the United Kingdom. If a charity sells cameras, there’s a 90% chance you’ll find an Instamatic somewhere.
Although the name itself might lead to the idea of an instant camera (much like the Polaroid), in reality no Instamatic model worked with self-developing film (these were the Kodamatics). They were designed as a line of inexpensive, easy-to-use compact point and shoot cameras, that accepted 126 and 110 film. Most models had no setting control at all, with a few exceptions.
The first model was the Instamatic 100, a camera which used 126 film cartridges, which costed around 15-16 US$ (in 1963). It accepted AG-6 flash bulbs which were powered by a couple AAA batteries. The only setting available was whether to use the flash or not.
Several models came out, later models replacing the flash bulbs with flashcubes and magicubes (thus, removing the need for batteries).
The model I purchased online is the Pocket Instamatic 100, a 110-film camera that was produced in the early seventies.
The Pocket Instamatic 100
It took me a while to find out some specs for this camera, but finally I found the Kodak Classics website, so I managed to get hold of some numbers. This camera offers a fixed 25mm triplet lens, with an aperture of f/11. Shooting time is 1/60s (unchangable) and there is the option of using a Magicube flash, if the lighting is insufficient. Inside the package there is the camera itself, a Magicube extender (an adapter that raises the Magicube a bit so it is not too close to the lens) and a lanyard. The original package also provided a blank roll of 110 Kodak film and the instructions booklet.
It is a plastic beauty, quite small and compact (the dimensions are …). The lens is protected by a sliding panel, that also unlocks the camera when opened. There is also a lever to operate the film advance on the bottom, which also rotate the Magicube slot by one quarter of a turn (a Magicube has four bulbs).
It’s a very simple and compact design, but it’s quite fun to use. 110 Film is still produced by few companies, including Lomography who also process and scan it through their LOMO Lab service.
There are some pictures I snapped in Krakow, Poland with the Pocket Instamatic: