Reasons To Shoot Olympus OM-1

Film: Shooting film is a great way to learn the aperture triangle, and makes you take time when taking shots. The OM-1 is a classy way to shoot film

Fully Manual: Shooting fully manual is important, and the OM-1 has the shutter control on the lens mount, and the OM lenses on lens. You don’t need to move the camera away from your face to shoot. The built in light meter is a godsend, and is easily readable via the viewfinder. 

Zuiko OM Glass: The zuiko OM prime lenses are well constructed, beautiful lenses, that produce top-not results.

The smaller size: Compared to most other 35mm SLRs from this time period, the OM-1 is small, and easy to navigate. It will easily fit in any bag and is no hassle when using a wrist strap

The aesthetics: The OM-1 is a beautiful looking camera. The no thrills controls are clear to read, and the shutter dial being on the front of the camera allows for a pretty minimalistic top panel. 

The feel: This camera just feels right in the hands. A decent weight, but without the heft of a larger SLR such as a Yashica FR-1, the winder feels smooth, and the shutter button is just wide enough for your index finger. The sound of the shutter/ mirror is the nicest sounding I have heard. It just sounds ‘right’.

Carry it everywhere...

The compact size: This thing is small and in offensive. It will fit in most pockets or bags, and is not tiring to carry around all day. This is a great alternative to dragging a DLSR or larger mirror less camera around with you all the time.

The Lens. The 28mm FF equivalent F2.8 lens is brilliant. It is sharp, and 28mm is a great focal length for both indoors and outdoors. You can cover anything from portraits, street shooting, and landscapes. Zooming with your legs is easy, as the camera is so small and light weight. 

Anyone can use it. Both beginners and seasoned photographers can get a lot out of this camera. It goes from fully auto, to aperture or shutter priority, or manual. You can also program several modes and buttons to do whatever you want. The functionality of the this camera is top notch.

The image quality. Both the JPG and RAW files are great quality, and can be edited in lightroom or other editing suites. It also has built in wi-if for people that want to transfer images to their phone.

The macro function. There is a button on the Ricoh GRII that allows you to shoot up to 30cm, this is great for portraits, and getting details on smaller objects. Okay, it isn’t a fully macro lens, however having the ability to focus up to 30cm and have sharp detail in the image is very handy to have in your pocket!

The flash. There is a really handed pop-up flash, which will not pop-up on its own! So annoying when that happens... luckily the GRII has a button you press and the flash pops up. It is very usable, and handy in a number of situations. 

In a pinch it can shoot video. Granted it is very limited, but the footage can be imported to Adobe premiere or Final Cut Pro and edited. Most people might use there phone to do this, however, it will run your phone batter right down, and we all hate that right? 

The snap focus function is a god-send. The snap focus will allow you to instantly take a photo of your previously selected focus distance. This is great for capturing passing moments and events, and if you are doing street photography, is probably the cherry on top!

Olympus EM5 MKII!

So it has finally happened, I have pulled the trigger on a digital Olympus camera. This is quite a big thing for me, as the vintage Olympus cameras are very special to me, and for the last few years I have been flirting with the idea of jumping onto the Olympus Micro Four Thirds wagon. A great way to do this was the EM5 MKii, and s I pulled the trigger.

So why have I waited so long to buy a digital Olympus mirrorless camera? Firstly, price was the main factor. Although at some point, getting an Olympus pen and a lens was a lot cheaper than buying a DLSR, now it is quite a different story. With the evolution of mirrorless, modern cameras are all top quality at more affordable price. However, I feel that micro four thirds lenses are expensive. Certainly compared to Fujifilm X lenses.  

I was uncomfortable going from full frame and APS-C to micro four thirds. This is probably the biggest thing for more people, and a lot of it is due to stigma and strong opinions on the inter webs. Yes, it is a smaller sensor. However, there are a lot of positives and unique abilities the M43 system has. 

In terms of videography for YouTube and the like, Micro Four Thirds is one of the best options. Small cameras and lenses, with fast focusing, and great quality images. This is the main reason I picked up the EM5 MKII, as the in body stabilisation and small body were the main reason I went in this direction. I know what you might be thinking, don’t you shoot a Fuji X-T2 on a gimbal? Yes, the X-T2 has fantastic video capabilities, but it does lack image stabilisation. The gimbal provides that, but this set up is not easy to assemble and take out and about. 

The EM5 MKII gives me the opportunity to hand-hold the the camera whilst videoing, and has a floppy screen, allowing me to keep the framing consistent. Although the X-T2 does 4K, pretty much all videos on YouTube are scaled down to 1080p at the moment, and the 1080p footage on the EM5 MKii is lovely. So this transition is not huge, especially considering I tend to switch between colour and black & white videos. 

You mentioned how expensive the lenses are, what lenses do you have? Unfortunately at this time I only have the kit lens, but the quality is good for video. I also have a 40—150 lens - when the fuck would I ever need this?? So this lens will be leaving me very soon, in order to bring in some useful prime lenses. 

As you might be well aware, I love adapting my vintage Olympus glass to my mirrorless cameras, but I fear I may be doing this less because there will be a x2 crop factor due to the M43 sensor. I will get around to doing it though, as I want to see what it is like. 

Do I have any advise for anyone looking into M43 cameras? If you do street photography, videography, and travel photography most; then yes. If you are into large photographs with large amounts of detail for landscape, then I would perhaps suggest something else. However, M43 is a great system, and there is a lot of quality to be found there. 

I am very much looking forward to shooting this camera more often, and making videos with it. Keep an eye out for the EM5 MKII in videos! - Sly. 

What to look for when purchasing a rangefinder camera

Rangefinders are really fun and interesting cameras to use, and it makes sense that a lot of people that enjoy film photography want to get into using a rangefinder camera. Now, let’s talk about the elephant in the room: The Leica M. The Leica M (insert number here) tends to be on the top of most people’s lists when it comes to rangefinders. Yes, they are beautiful and effective tools, but that are exactly that: a tool. You do not need a Leica rangefinder in order to shoot street photography on a rangefinder. You need a Leica for the same reason you want a 1957 Gibson Les Paul or a Porsche; because they embody wealth, status, and the top-of-the-line in quality. 

The reality is there are a lot of rangefinders out there, and if you are shooting film for the first time, Leica isn’t necessarily the best place to start. I would recommend a fixed lens rangefinder as your first rangefinder (and to be honest, most people only really use one main lens on an interchangeable rangefinder anyway). Most vintage fixed rangefinder cameras have a standard lens, usually around the 40mm mark. I feel that 40mm is a great focal length for street photography, wider than a 50mm, but not wide enough to make you uncomfortable if you are new to street togging. 

I will just mention that the older Japanese rangefinders are a great place to look for quality. I will follow this up with saying: pretty much any RF camera you buy that hasn’t already had a CLA will likely need one. This might go without saying buying an older camera, but the rangefinder will need to be calibrated, and make sure you ask for this to be done. 

I know this may sound a little bias, but I can only speak from experience on this; The Olympus 35 rangefinder series is a great place to start. The 35RC is the little brother in the range- you have control over over the exposure triangle, and settings are viewable in the viewfinder. I have gone into more details in other articles, and I have videos showcasing what most of the 35 series of rangefinders can do on my YouTube channel. 

The fixed focal length rangefinders will allow you to adapt quickly, especially if you are generally used to 35mm and 50mm focal lengths, as it is smack bang in the middle. Zone focusing is always a useful technique with RF’s, and I tend to find the distances noted on the lens are fairly accurate. 

As with any camera or lens, make sure there is no haze or fungus on the lens or viewfinder. Also take a good look at the aperture blades, as various leaks can cause them to stick and degrade. This is especially noticeable on the Olympus 35 RD. Mine had leakage on the blades, which turned out to be fixable, but always check this out on a camera. 

I touched on rangefinder calibration earlier, but this is usually the biggest issue with older RF’s. Over time the rangefinder becomes less accurate, and will need to be calibrated. I have found that several rangefinders I have owned (including my 35RD) have needed the rangefinder calibrated. Again, finding one that has had a CLA and the rangefinder adjusted is your best option. It is worth paying a little more for one that has had this done, as getting this done means time and effort taken to putting into a workshop and waiting ‘x’ amount of time until it is done. The place where I get my cameras worked on has a long waiting time.

Finally, my last suggestion is to look at the size. A small rangefinder is likely the best option, as it allows for more candid shooting, and is less bulky and heavy. Luckily, most rangefinder cameras are smaller than modern cameras (although they tend to be heavier), so this is less of an issue. As previously mentioned, vintage Olympus cameras are known for their smaller cameras, and keep in mind that the 35 range is full frame 35mm. 

Anywho - more articles and videos next week - Sly.

Getting inspired: Maintaining Motivation

Seeing the sunny weather after months of snowy, rainy cloud, can be a great inspiration when it comes to being creative. That’s fantastic, and make sure you make the most of it! But how does one maintain the motivation in day to day life? 

Let’s face it, work and real life can get in the way of creativity, and certainly tends to be the main excuse for lack of creative productivity. It is hard to satisfy those creative urges when you have had a difficult day or week at work. It is easy to over think it all, and decide to ‘take it easy’. Realistically, this is a poor excuse, and one I have been guilty of many a time. 

It is very easy to tell someone: Don’t over think it, just go and do it. Yes, this is true generally... just doing something and not over thinking it can yield productive results, and even surprise you. However, sometimes going out without being prepared can also be a bad thing. You go out, with a camera or pick up a guitar or a pencil and just start trying to pour all your frustration and effort into it, then find that now this just proves your apathetic mood towards doing it in the first place. 

Now before I get into this next part, don’t shoot me, but I do enjoy making lists of things to do, shoot, write, etc. I am not suggesting you write a list then just go out right away and do something, but rather make a list at any point in order to draw inspiration from in the future. 

A good example of this for me is videos. I make lists of equipment or topics, so that down the line I can go... right I will do "this". Now, I will concede I have a habit for "winging it". Taking a piece of new gear out with camera face and just hitting record and going for it. As much as this shows the advantage of just going out and doing something, I want to highlight that this is only usually possible because of making lists and thinking about different things helps to keep creative juices flowing. 

I make lists for all sorts of things. Songwriting, photography, videos, etc. Even writing down things that may seem half arsed, sometimes when putting them into practice become some of the best work I have done. Musically speaking, I am in my element when experimenting, which can translate well live, as well as recording. I have found this translates into photography as well. So I like to keep an open mind when making these lists. 

Granted at the moment, a lot of my video work is on vintage Olympus and Zuiko gear, so a large portion of the list is made up of these things. But even writing something like "Why do you do photography?" Is a great subject. This can have you falling down the rabbit hole exploring the the psychology and reasoning behind: why do make certain decisions or lean towards doing certain things?

So lists and Spontaneity not doing it for you? Another suggestion I have is surround yourself in what you love. By this, I mean if you are into something, make sure you are subjecting yourself to it. For example, If you are into a specific type of photography; watch videos and read books about it. This can be applied to anything you are into. This can be a great way to introduce inspiration, as you are absorbing all sorts of information, even if you are only half paying attention to it. In fact, if you are half paying attention, you will find that something will stand out above the noise and grab your attention. 

Watching camera videos give me a lot of inspiration. Compared to videos on photography, which tends to be overrun by a lot of opinion. Granted you encounter this in camera videos, however, I tend to skip boring intros and talking, and skip to how it is being used. One thing I have noticed, whether it is guitar gear or photography gear, is I tend to use it differently to how most people in videos are. 

Take an image, painting, or album art that you love, get it printed, and put it somewhere. Perhaps on your desk at home, or on the wall in your lounge or kitchen. somewhere where you are seeing it/ walking past but not necessarily paying attention, as your subconscious is recording. Having things that elicits a response in you when you see or hear it should be something you are exposing yourself to. 

This next section feeds into the last part; make sure you put time aside to do something involving what you love. This can be a small amount of time or perhaps up to an hour. But make sure you take time to play around with photo editors, seeing what you can do to the photographs. Take time to watch videos around a type of photography you don’t know much about. Find a couple of youtubers that post some content you enjoy, and subscribe. You will be notified when there is a new video, and you can put 10-15 minutes aside to watch it. 

Put aside time to do all these things in your life. And then, take time to do nothing in between. Counter intuitive right? the inspiration well is something that easily drys up. Taking a break from something you love is important, as it allows time to absorb information, and to forget certain  thoughts, feelings, and attitudes towards things. This then in turn allows you to come back to doing what you love with recharged batteries. 

To stop this going from a break to "stopping to do it and falling back into your bad habits of not actually doing anything" situation, you have to do make sure you are doing the other things in your life. Once you get into a cycle of doing the other things, they encourage inspiration, and in turn encourage creativity. Taking a break can make you want to go back and do it even more, rather than "I want to do it but I can’t because...". It is about remembering inspiration is not the life lasting energy of a star, but rather like the battery in the devices you use. You need to let it all re-charge, but you can still do these things throughout the day.

Doesn’t make sense? How often do you look at your phone everyday? How often are you on a tablet or laptop in your spare time every day? Try to imagine this over the course of a week, a month, a year. How much time do you think that is a year? So now start applying the things I have mentioned in tandem with these things. Looking at your phone? Change your wall paper every week. Make sure you are taking photos of things, even mundane things on your phone. Put a video on in the background whilst doing things on your tablet or laptop. Perhaps start researching places to print photos or a piece of gear your want to save up for.  

After a while, these things find their way deeper and deeper into your routine. finding someone else to do these things with can be an even bigger inspiration. I love doing things I love with friends, and having someone that finds inspiration easily is someone to spend time around. Inspiration can breed inspiration, and fun can breed creativity. 

After a month of doing these things in your spare time (watching videos, subjecting yourself to images, going out and practicing, doing them with friends, then taking a small break), you might find it much easier to come back and find inspiration.  

Anywho, catch you on the flip-flop! - Sly. 

Instant success: The Mint TL-70

After the disappointment around the Polaroid SX-70 I ordered, it was refreshing when I came home from a work trip to Manchester to a box containing the Mint TL-70. 

After getting into the box, I discovered 3 batteries, and some instructions. The batters were really fiddly to get in, and it took a while to figure out how to get the lens caps off (who reads the manual; right?), I loaded in a B&W instant mini cassette into the camera. 

Now, in terms of the looks and feel; The TL-70 looks the part of a TLR; the whole thing looking make of quality parts (both plastic and metal); and the camera itself is much lighter than my Rolleiflex. 

It has an aperture wheel under the lens on the front, a focus wheel on the left of the camera, the shutter button on the front (this exposes the film), and a button on the side at the back that releases the film after you have taken the photograph. 

Now this last feature, is a big deal for me. What this tells me is that you can take a candid street photograph, then walk off and eject the instant film when you want, allowing for a candid photograph. 

Hold on, isn’t that defeating the point of instant photography? Well no, it allows you to be more creative with it. If I took an exposure on the Polaroid SX-70 in the street, it makes a big noise and hoo-har as soon as I have taken the photo. This means that if I was trying to get an honest candid moment on film, it draws attention to the photographer. 

So what about the film? I can see why the Instax mini is so popular. It allows you to use relatively small cameras, and make small tangible wallet sized photos instantly. My experience with the instax mini is that they produce a fairly decent reproduction of what I have exposed the film to, and that the B&W produces more consistent results than the colour film. 

So what about using the Mint TL-70 2.0 hands on? Well, I love TLR’s, and think personally this is a rather sexy camera. A lovely concept, that has come together really well. It feels like a TLR, if focuses very much like a TLR, and although it is only aperture priority, still gives you a large amount of control over the results. The controls feels solid, nothing tacky or flimsy. The focusing screen is bright and decent, and the device is easy to use. 

So what about the results? The only comparison in terms of the instax mini, is the SP-2 printer I have. This allows fairly good reproductions on the mini. However, taking completely new photographs on the TL-70 2.0, I have enjoyed the results. Now, this camera goes from F22 and opens up to F5.6. This feature allows you to experiment with depth of field, and means the camera is quite usable inside. Adding in a flash was a great idea, because this means you can use this camera at night to take photographs of people or inside with ease. Also, on the Aperture wheel, there is a bokeh shape for every camera- mine is a star. 

This camera has a 3 element aspherical glass lens, that goes from F22 and opens up to F5.6. This lens produces sharp images, and allows for great depth of field. 

What are the stand out features of this camera? For me, the best things about this camera are:

The ability to take an exposure and then decide when you want to eject the film - This is by far my favourite little feature. Fantastic for street/ candid photography.

The Exposure compensation switch - This switch goes from -1 to +1, and this allows you to get slightly more out of the camera than the stock exposure controls will allow. This is handy when in bright light or inside in the dark. 

The flash - Well hidden, this is a great little feature just above the viewing lens, and really does work well.

So what are potential issues or cons with this camera?

Perhaps less problems in terms of what a film camera can offer, but in terms of being a modern device, this camera only goes to 1/500. Now most of my film cameras do this, and isn’t a problem in and of itself. The only time this may be an issue is in bright sunlight. F22, 1/500, and -1 on the exposure switch is usable, however, considering this is instant film rather than digital, it would still be possible to overexpose a number of images before you realise that okay, the camera can’t handle very bright light. Now, Mint make a set of ND filters, which would be worth getting, however I cannot find a supplier in the UK, and it costs another ninety to hundred pounds to buy these (this does not include the import tax...). 

Overall is the Mint TL-70 2.0 a camera you want in your collection? Do you love TLRs and instant photography? Then yes. Do you like having fun with unusual and unique cameras? Then yes. Does this make a great gift for a photographer? Yes. Is this camera for everybody, or anybody that wants to get into instant photography? No. I feel you need to have some idea of the exposure triangle or be able to use a camera in at least Aperture mode to appreciate and get the most out of this camera.

Final thoughts - wow this is a lovely camera. It is very rare in the camera world that a concept against the grain, is allowed to come to fruition. But Mint have pretty much nailed it here: a beautiful design, something that stands out, is a great meld of old and new, and it works! So I will be off having fun with this camera, have a good one! - Sly. 

Buying vintage cameras - when it fails

So a large problem with buying vintage gear of any kind, be that guitar or camera gear, then you will always run the risk of buying broken gear or get that is not working. I have run into this before, but twice recently I have run into camera purchases that were duds. 

I have recently bought a Polaroid SX-70 online, and the seller stated the camera was working. However, once I received the camera, and put a couple of packs of instant film through it, I discovered there were light leaks, and the camera didn’t work properly. 

This is always disappointing, and more so because I was hoping to go out this weekend and get some cool footage with it. Unfortunately I have had no luck this weekend, and have had to change my plans well into the weekend. Luckily, the seller will refund me (for camera and postage only, not the 2x 17.99 for the Polaroid packs).

What to look out for when buying vintage gear? Ideally any used camera you buy should have recently had a CLA/ been serviced. However, life does not always pan out that way, and most people stick it up online as unused or unsure if it works. When this happens, make sure wherever you are buying it from has a returns policy, but be prepared to walk away having to pay extra to get the camera repaired or to count your losses. 

If a seller states that the camera is in working condition, then this is when I would expect to get a refund if the camera is not working. Of course, this is only an ideal situation once again, and always check the returns policy. 

My best advice is to find a camera shop or person that can reliably fix vintage cameras. You can pre-emptively be ready to fix vintage gear, and pick up some cheap deals online, and then pay for a CLA. 

Ultimately, you have to be honest with yourself about the risk, and be prepared to walk away with less cash and no camera. However, the risk can pay off big time, and I have found with with my OM-1 and my 35RD. 

My mistake was relying on the fact a very old instant camera was going to work, and that I wanted to shoot it the weekend it arrived. I know from experience, that this was a big risk, and this time it did not pay off. 

Until next time - Sly.  

Branching Out To Instant Film

Instant cameras is something generally seen as nostalgic. The always less-than-perfect look, and gratification of holding the little photograph in your hands is something that is tangeable and unique. With so many different options out there, where is the best place to start? A vintage Polaroid camera or a modern instax? To tackle this, I decided to purchase two cameras I have wanted for quite sometime: 

The Polaroid SX-70: The legendary camera with manual focusing. A staple from the vintage instant film line-up

The Mint TL-70 2.0: Because it is a great example of modern innotive technology, that utilises the mini instax film. 

I am quite excited about this, and hopefully will have a friend or two wanting to jump onboard for some instant film videos! The SX-70, is built wonderfully well, and looks like a sci-fi device stolen from my favourite shows as a child, and thrust into the modern world. It has the look of being overly complicated for such a simple device. 

The Mint TL-70 is a camera I have wanted for quite some time. I love TLR cameras, and I think that mixing the TLR design with modern instax mini instant film is a really great idea. It takes a lot to try and do something a bit different, and although the first model has some noted issues, it is good to see a company striving to be innotive in a world where doing the same old thing is the accepted norm. 

How can you compare two very different cameras and films, despite both being from the instant film format? The answer is simple: All my reviews are about the experience and actually using the cameras out in the field. These are cameras I purchase with my own money, and tend to be cameras that I keep. This allows me the advantage of being brutally honest about what I review, rather than throwing lots of specs and smiling faces at you. A lot of reviews out there don’t use their own equipment, and certainly don’t use the gear regularly enough to provide an honest observation about there.

Now, shooting any kind of film does cost money every time you press the shutter button. Instant film is a little bit different to 35mm & 120 film, in the sense that it is very easy to get carried away and fire away shot-after-shot. Shooting this way can be very expensive. The packs of instax mini (10 exposures) costs around ten pounds. The Polaroid originals pack costs 16.99 each! So you really need to take this into consideration before purchasing. 

However, I like the idea of a gathering or small party where you have a bunch of instant cameras and a few packs laying around just to be used to document the good times. Or even just taking it out instead of something like the Ricoh GRII, and just getting simple interesting shots. 

I will end on this note: Bring the instant film challenge! I am looking forward to it, and hoping that there are no issues with the cameras. I expect that over the coming months there will be a bunch of versus videos on my YouTube channel. This excites me, as I love getting my friends involved with my projects. - Sly.  

The Olympus 35 SP and 35 UC

The Olympus 35 SP is the big daddy of the Olympus 35 rangefinder series. Top-of-the-line is a phrased used with this camera. The camera sits above the 35RD, and is considerably larger than the 35RC. However, the camera is fairly small/ average size when compared to modern mirror less cameras. 

One of the first cameras around with spot metering, and one of the first cameras to incorporate both a light meter and a spot meter, the SP was innovative. The spot meter button is located on the back, and needs to be held down to make sure the camera does not switch back to the other light meter. 

The 35SP sports a 7 elements in 5 groups 42mm F1.7 lens. The lens is beautiful to look at, and produces very satisfying images indeed! The shutter dial and aperture ring both sit on the lens, and are easy to focus. The shutter goes from B(ulb) to 1/500th, and the aperture ring goes from F16 to F1.7. Both rings have an ‘A’ setting, which means the camera will take over these modes if selected, allowing for: full manual; shutter priority, aperture priority; and full automatic.

The focus ring throw is very short, making it very easy to focus, and has a little lever sticking out the side, allowing for smooth finger movements. The rangefinder and viewfinder is very bright, and the EV setting is shown in the viewfinder (and on the aperture ring). 

The camera has the standard options within the 35 rangefinder line: PC sync, hot shoe, Asa knob (on the side), and a threaded shutter button. The rewind button and battery compartment are at the base of the camera. The SP has a leaf shutter, which helps with flash.

Ergonomics wise, this is a lovely camera to hold and operate. As mentioned, the viewfinder is bright, and the lens is very compact considering it also sports the aperture and shutter speed rings. Aesthetically, the SP’s are stunning to look at, and the black version I have I absolutely love. This camera was made with class in mind, and seeing it in person and holding it in your hands confirms this. 

Now, onto the 35UC. Quite a rare camera in Europe and America, but fairly more common in Japan, the 35UC has a different look. On the whole, this camera is exactly the same as an Olympus 35SPn. However, there are a few differences.

The 35UC sports a battery check button, which my black copy of the 35SP does not have. This is pretty cool, and for me separates these cameras enough to warrant owning both (at this time). I know, I know, that is a really vain excuse. However, I have also wanted the 35UC for a long time.

The front of the UC looks like the standard 35SP, but looks more flash with a black plastic frame which neatly highlights the finders and model name. The lens and other features are exactly the same. So ultimately, the only reason to get this camera over the SP is for the looks - you vain vain person you. 

I have spoken a lot about the Olympus 35 rangefinder line, and the SP is the biggest badass of them all. Thicker, packed with more features than you can shake a stick at, including various shooting modes & a spot meter, and has one of the best Zuiko lenses ever made. This camera is a beast on the streets, and will give ANY other rangefinder a run for their money. The SP still holds up today, and like any vintage camera (especially rangefinders) you will probably need to get it CLA’d. 

In conclusion, if you are looking for a rangefinder camera that does it all, and has a top quality lens with a wide aperture, then you have found the camera for you. Whether you get an SP or UC is totally up to you.

If you are looking for top quality but want a smaller camera, the Olympus 35RD is the camera for you. It has an amazing lens, is a lot more compact, but still boasts quality (RD stands for rangefinder deluxe). If you need something small, and simple to use, then the RC is for you. The RC is a great started camera, and the little brother in the range. 

Everyone should have a rangefinder in their collection, and street toggers will love the Olympus 35 range.  - Sly. 

Gallery: Click on the next image to see it.

Last Week!

This Week, I Visited South Bank With Emily & Cameraface To Start The Battle Of The Zuiko 40mm's!

A Classic Shoot Out Between The Zuiko OM 40mm F2 Pancake Lens, And The Olympus 35 Rd. These Two Legendary Beasts Went Head-To-Head On London's South Bank. You Can Find It Here:

Https://Www.Youtube.Com/Watch?V=UgG7KmntFB4&T=1s

I Thoroughly Enjoyed Making The Video, And Will Happily Invite Emily Back Again For Another Video Soon. I Am Planning To Do Several Shootouts In The Near Future. 

Next Week

• Ricoh GRII - is it still worth it in 2018?

Feel Free To Leave A Comment Either On Here Or On Youtube! - Sly

RIP my car

This is a sad day indeed. Today my car was pronounced dead the evening of 19/03/18. I know it won't mean much to other people, but the car has been important to me, even though it has not always been reliable. 

The car has allowed me a great freedom, and allowed me to get out and do photography in interesting places. 

Just a short post this time, and just a final thought for the car: You were a pain, but you were also a good friend. May you RIP. - Sly.

Editing videos/ rendering

Now that the first video in the 'Battle of the Zuiko 40mm' is up on youtube, after 20 odd hours of editing and rendering, I have decided to make a blog about editing videos.

Now making videos has become an important part of what I do, and it is something I enjoy doing. I am lucky enough to have a good friend filming me most weeks on the London streets. Editing is something I have had to learn on the fly in regard to photo walks. Most of my older videos were just guitar gear reviews/demos, and did not need much editing. Photowalk vids are hour(s) worth of footage, ontop of scaning/ uploading/ editing photos. 

Trying to gauge and feel my way through what is right in terms of editing has been a steep learning curve. Even having an idea in my head of what I want, can be difficult to translate to the screen. However, I have gotten comfortable with the whole documentary style shakey video and fast editing. 

It is the hardest part of making videos. The content flows more easily, as it is spontaneous on the streets, and things always present themselves. Once in the editing suite, everything slows down, there's footage to cut, music and audio to sync, and subtitles to write (dear lord the bloody subtitles!). 

If I have any tips, it would be to be cut throat with the footage. I have found that about 6-8 mins is best for me, with 10-12 mins when I have someone else in the video. As nice as it is getting footage walking along, adding more than 5-10 seconds of walking footage in between photos/ actual content is a no-no. It is something I have had to really cut back on, especially in places I love like Camden and Brick Lane. 

Out-takes have become important to my video workflow. It is something I never force, but I always like adding in bits at the end where I am cocking up, or a silly part of the day that was actually captured. I think it adds a human element to the process.

Swearing is fine in videos. Everyone has a different take on this, however I think it is an important expressive part of human expression. I am not talking add expletives for the sake of it, but the odd 'bollock's or 'shit' I have no issues with. It all comes down to taste...

Anywho, just a couple of thoughts on editing vids. See you on the flip flop - Sly.

Fujifilm X-Pro1 in 2018

There is something to be said about the original X-trans sensor, even in 2018. The X-Pro1, in a lot of people's minds, has sat behind the X-T1. Specs-wise is this very true. The X-T's are released later that the X-Pro's, meaning they always benefit from hardware boosts. However, as much as I used to love my old X-T1, there is something to be said for the X-Pro 1's sensor. 

With the latest firmware update, the X-Pro 1 is much more appealing. The autofocus is decent, okay it won't rival the X-T2, it can be used with decent street lenses like the 23mm F2. I think the camera always had a bad rep' for autofocus, which never really bothered me that much, as I tend to manual focus more. 

The image quality is fantastic, and has a more unique feel than the latest X-Trans sensors (and that is saying a lot because the X-T2 is a lovely camera). 

My only real issue with the camera is that it cannot do silent shutter. This is a must for mirrorless cameras for street photography, and it seems odd that it was not set up to have this feature. 

The overriding question is can it hold up in 2018? Yes. Does it matter that it has a 16mp sensor? No. The images are sharp and look fantastic printed large. That is less of an issue for me than not having a silent shutter. So if you have a chance to pick up one cheap, I say: go for it! you can always sell the camera for the same price you got it. 

- Sly.

Battle of the Zuiko 40mm lenses coming soon

Although I do not have EVERY vintage zuiko 40mm lens, I have enough to create videos on. Specifically two very comparable ones in the Olympus 35 RD's F.Zuiko 40mm F1.7 rangefinder, and the Zuiko OM 40mm F2 pancake for the OM SLR cameras. 

Firstly, the 35 RD, with the 40mm F1.7 Zuiko lens. This is a 6 element lens (not sure how many groups), that is nice and sharp, goes to F1.7, and focuses up to 0.85 of a meter. Now, the biggest downside to this lens is the lack of short close focus, a common feature of rangefinders of this era. The focus throw for this lens is very short indeed; making it great for quick focusing. 

The OM 40mm F2 Pancake lens is also a 6 element lens (in six groups). This lens is nice and sharp from F5.6-F16, have lovely bokeh at F2 & F2.8, and has a short focus distance of about 30cm - mine actually focuses to about 26cm! The focus ring pull is three or four times further than the RD, and the aperture ring is right at the front of the lens, which makes it easy to accidentally touch the lens. 

Shooting wise both of these lenses are fun to use, and can easily be adjusted. Because the 40mm F2 pancake is sat on the OM camera, which meters through the lens, it is easier to use the onboard meter. The lens on the 35 RD has the light meter reader just above the lens, but does not have a meter in the viewfinder. This is not an issue for an experienced street tog, but can make it difficult to change on the fly, since you need to look at the lens to see your settings. In auto mode the 35 RD automatically meters and you do not need to worry about it. 

On the streets, they both have their advantages. The RD is quicker to focus, the camera is quieter, and draws less attention. The 40mm F2 pancake is more versatile, can do close focus short depth of field shots, but the OM cameras are louder due to the mirror mechanisms. 

On paper, the RD is the precision beast. Fast aperture, fast to focus, quiet, and with a sharp fixed lens. Being attached to a rangefinder, and without an exposure meter in the viewfinder, the 35 RD is better for seasoned street toggers. 

On paper the OM 40mm F2 lens is a great all rounder. Being on the OM system, it takes full advantage of TTL metering and focusing. It also has close focucing and lovely bokeh. This lens is very usable for all levels of photographer. 

Very soon I will be doing a battle of the Zuiko 40mm lenses video, and I am looking forward to seeing the results of these two lenses going head-to-head on the streets. Keep an eye out ;)

- Sly.

Olympus Rangefinders and 40mm lenses

I have a treat in store the next couple of weeks. I have a beautiful Black Olympus 35 SP rangefinder camera coming. I have wanted one of these for a long time, and have toyed with the idea of purchasing one online from Japan. Luckily, I have found one in the UK, that appears to be in great condition, and ready to shoot. 

I am steadily building a collection of 40mm (or there abouts) Olympus lenses, both interchangeable and fixed. I plan on being the first person on youtube to do a 40mm lens shoot out of some of these cameras. Firstly, the 35 RD vs the OM 40mm F2, as they are most similar, and then the RD vs the SP. 

I had the Olympus 35 RC once, and wasn't that impressed, certainly not as much as I have been with the RD. 

Anyway, I am sure you are tired of reading very specific camera and lens names! It is enough to know that I am currently on an Olympus Rangefinder fix, and enjoying the 40mm focal length. 

Have a good one - Sly

Adapting vintage glass to digital

I love using vintage glass, there is nothing quite like being able to manually focus a great shot! They tend to feel well made, and to coin a poor phrase; 'look legit'. In all seriousness, they look fantastic. 

I love the look of photographs taken using vintage glass onto digital, it has a softer, more unique look to a lot of modern glass. This can lend itself to some great results portrait-wise, and give a retro-contemporary film to your shots. 

I tend to adapt full frame 35mm lens to APSC digital sensor cameras (such as the Fujifilm X-T2). This means there is about 1.5 crop factor when it comes to using the full frame vintage glass. So my Zuiko 40mm F2 is more like 60mm, and the Zuiko 28mm F2 is more like 42mm, etc. This means the lens can give you different results depending on what sensor size the camera uses. I find this can yield interesting results. 

I find the cheap adaptor I have a bit bulky, but useable and well built. I have 3, all of which adapt different brand lenses to my Fujifilm FX camera. When I had the X-T1, I would use older glass all the time when out with family or friends. I have only recently started using the vintage glass on my X-T2 in recent videos, and have come to really enjoy it. 

Keep your eyes peeled on my youtube page for more vintage Zuiko OM glass adapted to Fujifilm cameras! - Sly

Zuiko 40mm F2 adapted to Digital

The Zuiko OM 40mm F2 pancake lens is one of my favourite lenses of all time. Apart from being nice and small, the performance from this lens is impressive.

Being 40mm, it is great for street photography, as it is wider than a fifty and sits nicely between the 50mm and a 35mm. Having the bonus of going up to F2; not only does this lens have the bonus of having a shallow depth of field, but it also have lovely bokeh. 

There are of course fallouts for using vintage lenses at wide apertures, and there is no perfect lens when it comes down to this sort of thing. However, this lens has character at F2, and I love the results you can get at this aperture. 

The secret weapon of this is the short focusing distance. I have measured this lens at focusing around 24/25cm. This is fantastic for F2 close-up shallow depth of field shots. 

Adapted to my Fujifilm X-T2, which has an APSC size sensor, this lens is about 60mm full frame equivalent. This is still very usable for street, and is great for street portraits.  This lens has great micro contrast, and at F5.6 down to F16 the lens is sharp to the corners. 

I have the beschoi OM to FX adaptor, which sticks out around an inch and a half from the body. With some of the larger lenses (24mm F2, 28mm F2), they protrude quite far out of the body, but the small 40mm F2 pancake makes the whole set up feel very natural. 

Finally, I always have fun shooting this lens. I find it easy to get creative with, and I know I can trust the results. It is one of the more expensive Zuiko OM lenses, but any street photographer would love to have a versatile small quality lens in their collection. Fantastic on film, and beautiful on digital. 

- Sly 

Preferred Films

Both 35mm and 120 film are important to me, and I have been lucky enough to try a large number of different B&W and colour films. So what do I prefer to shoot and and why? Is there a particular reason I tend not to use certain films as much in my work? 

My favourite B&W films I have tried so far are:

Tri-X
Bergger Pancro
JCH Street Pan

When it comes to Tri-X, it is difficult to go wrong. It looks great, is easy to shoot, and you get consistent and great results. Tri-X was always my go-to film when wanting to shoot film at 1600 asa. The grain structure is lovely, and it scans well. What about the whole Tri-X vs HP5 thing? I am not a fan of HP5. I have shot it a number of times, and although it's not a bad film, I have struggled to get results I like. Tri-X will always triumph over HP5 for me.

Bergger Pancro is a cool film. You get contrasty results, with good acuity and sharpness/pop. This film is best shot at 400asa, but gives a really retro/ old school look when pushed to 800 or 1600. It is probably my most shot B&W film along with Tri-X.

JCH Street Pan 400 is a film I love using on the grey winter worn streets of London. This film is very contrasty, and is made to be pushed or pulled. It looks great when pushed to 1600, but I prefer pushing it to 800. The down side is, if you have a lens with great micro-contrast (ala Yashica ML 50mm F1.4), then the results won't be as good as you tend to find with those sort of lenses. I think this is down to the high contrast of the film. That isn't to say you can't do it, but why waste a nice expensive film by not being able to utilise its strengths?

My favourite colour/C41 films are:
Portra 400
Fujifilm Pro 400H
Ilford XP2

Portra is just a lovely film full stop. I can push this film to 800/1600 all day, and love the results. This film tends to yield ideal colour results at 400asa, but when pushed can give a grainier, more street friendly aesthetic. It also converts well to B&W once scanned. You can't go wrong with this film, save that it can get expensive to buy. 

Fujifilm Pro 400H. This is a film I 'discovered' by accident. Having nothing to shoot for my medium format camera, and being fairly skint at the time and needed to cheaply process C41 film, I bought two rolls. I have to say, I love the look and feel of this film when pushed. It washes the colours out, adds a bit of grain, and is very welcoming to green and blue colours. A different flavour to Portra, this film offers me a lovely alternative when needing to shoot colour.

Ilford XP2 is an interesting one. Technically a c41 film designed to yield black & white results, this film is cheap, quick, and easy to process. I usually use this film to test a new lens or camera, but to say that it is for people new to B&W or for testing alone would be unfair to Ilford. This is a great film, and you can get some really interesting results with it. I tend to find that this film is very consistent in results, and works well when it has snowed or with lenses with a number of different issues. There will always be a place for XP2 in my film box. 

Why is Ektar 100 not on this list? Simply put, although I have enjoyed shooting Ektar in the past, the results aren't something that speak to me personally. A great film, and certainly has its place, but for my street photography it just doesn't FEEL right.

Anywho, just a quick one. Signing off from Milton Keynes tonight - Sly!

Street Photo Walk Videos

I had an interesting thought the other day, in regard to my personal photography versus my youtube street walks. If you head over to my photography albums on here, you will notice a very different photographs compared to the ones I do on the photo street walk videos.

I conclude this is because of two very specific things. The first being, when I am alone doing street photography I get into a rhythm of looking out for very specific stories or moments on the streets. I shoot wide angle lenses, with close up and abstract angles taken for exposures.

In the videos, the camera man does not know what my instincts are, and when I have shot images I normally shoot the footage is not there or has not been following what I have been doing. Moments pass by very quickly, and predicting what I do when in that rhythm is not an easy thing to do (Does anyone know a mind reading cameraman?). Also, a lot of the cameras and lenses I shoot are not what I tend to use. A lot of standard lenses, medium format, and rangefinders. 

I enjoy making the videos because it allows me to do something different, and forces me to try and get some decent shots in a really restricting time period (ahh mirrorless batteries...). I have found a love for certain cameras I would never really use because of the videos. Something like a Rolleiflex is not something I would consider shooting, as it has a fixed standard lens, and shoots 6x6. That is something previously I was not interest in shooting for my general street photography. However, now I can go "I love the idea, and I haven't done that yet...". 

At the moment the videos have taken over my general photography, and if I had the time and money I would spend a lot more time doing my own photography, and making videos. Being Slyelessar The London Street Photographer allows me to make videos in locations I love in London. I am planning to do some other towns and cities further down the line, but London Street Photography is what I do, so this is my playground.

Finally, it is much harder getting the kind of candid street photographs I tend to shoot when making videos. It's like having a huge sign pointing at me going 'hey I am doing street photography'. Candid street photographs is me, but in the videos people react differently because I am being filmed. 

Anywho, just thinking aloud- is that not what blogs are for?

- Sly

Shooting film photography videos

So going out and shooting film on video has become the latest development in my life as a London street photographer. I have a lot of equipment that there isn't much decent review or footage of on youtube. This makes it very easy to go out and shoot videos with. 

For example, most of the vintage Zuiko OM line has not been covered on youtube. This is always the direction I have gone with my camera gear reviews, as I lean towards putting information out on these amazing cameras and lenses. This has now evolved from images and story telling/ reviewing at my desk to hitting the streets and shooting, allowing viewers to see the journey unfold. 

Granted, being filmed draws more attention that usual, and as such does make general candid photographs harder to get. I have gone from being my close/ in your face street photography, to being more laid back and holding out for shots. This benefits filming the street photography more, and is better for the workflow of shooting- developing - scanning- and then editing the videos. 

What have I learned so far? With each video the content is getting better. Not just general shots which started off with medium format camera on a tripod, to going more mobile with 35mm range finders and SLRS-  to capturing more of my humour, which is important in allowing personality to shine through. 

I have enjoyed laying in some of my old music, as well as editing in some of the raw live audio in sections so the video does not feel detached from the situation. One of my songs has become my 'theme tune', and I have now been editing in the mistakes and comedy moments at the end of the videos. 

You can look forward to more Zuiko OM videos in the near future, intertwined with some Rolleiflex and Mamiya 645 1000S videos. I plan on moving around to challenges after I have shot a number of lens, location, and camera videos. 

- Sly