I am not a photographer. Not even a
hobbyist. The last time I played with film was forty years ago. My gear
consisted of one Zenith TTL camera, a bunch of plastic containers, some
chemicals, and a makeshift dark room.
When I was a teenager, photography was a real profession. Mum and dad
would dress up nicely and take us kids to the 'studio' of the best (and
only!) photographer in town. A serious family affair. And every Slavic
village had its own gospodin Kern, Schmidt or Laszlo; a
non-Slavic master photographer from pre-socialist Austro-Hungarian era.
In the 50s and 60s you wouldn't see a hobbyist walking around town with a
camera around their neck; that was not just too bourgeois, but plainly too dangerous - one could be easily perceived as either a spy or pervert - or both.
Luckily for photography and photographers, the 70s brought the long
awaited change. Socialism went out of fashion, replaced by Levi's, trips
to Italy and glossy Nikon magazines. Cool kids played basketball and
nerds joined photo and radio clubs.
There are number of reasons why vintage cameras are back in fashion:
attraction to fine mechanical engineering, the coolness of capturing
photons in a unique, magic way; the artistry of creative expression and
investment potential of a historical artefact no longer in production,
disappearing fast. To a sophisticated photographer - all of the above
and much more.
I got drawn into film thanks to Bobby’s enthusiasm. The
idea of creating a 'special place' in our office devoted to fine
vintage cameras sounded like an interesting project. After all, the
similarities between vintage watches and vintage cameras are too
obvious. Making those fine cameras available for sale as well as
preserving them for Bobby’s' generation and beyond sounds simply
irresistible.
Taking the Widelux for a stroll to Dee Why beach was my first film
camera 'event' in forty years. Widelux is panorama camera - it captures
the scene in wide angle. Manufactured in the 1970s, it is a heavy and
gutsy camera. A kind of conversation starter that will make strangers
walk to you wanting to find out 'what the hell this that?'.
The trick with Widelux is to take it easy. Composition
is everything. Zero randomness. A standard film roll would allow you 21
shots, but taking more than 1 photo per hour means that you are rushing.
There are a couple of technical 'must get it right' points: keeping the
camera absolutely horizontal so watching the spirit levelling 'bubble'
is essential. Not easy! Paying attention to light requires some basic
understanding of shutter speed and aperture and will make the difference
between properly exposed and overexposed shots. And the third thing is
to keep your fingers out of the frame - which means holding the camera
body literally as far from swinging lens as possible.
Here are two bad shots: the first one ‘capturing’ the finger and second
showing good horizontal alignment, but with undesirable vertical tilt.
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