West Views

 I am an amateur photographer living in Tucson, Arizona. I have worked sporadically as a professional over the last 35 years starting in 1970 when I was assigned as a photographer with the 25th Infantry Division in Cu Chi,Viet Nam. I worked as a freelance photo-journalist and a commercial color printer during the mid 70's but did not return to photography until the mid 80's when I worked with a commercial photographer locally for a few years. My primary work focus has been in the audio/electronics fields and it wasn't until 2004 that I decided to return to photography as a hobby. I have no burning desire to return to the field as a full time occupation but I realized in 2004 that I missed the photographic process and the results. My timing was pretty good as most professionals were dumping their expensive film cameras for pennies on the dollar and moving into the digital domain. Thus I have been able to purchase one of every type of camera I thought was useful or desirable for a fraction of what they would have cost when film was still the dominant format. It gives me great satisfaction to use these wonderful examples mechanical/optical precision. Below are a collection of images using the various cameras in my collection. I do have a few digital shots within the gallery and I am not adverse to using a digital camera but my focus is primarily toward cameras which use film. I am abashed to say that I do not have at least one example of every camera I own posted as yet. That is not to say I have not used them all. I have. But I only want to post images that I think stand out as good examples of the photographic art/science. As most photographers will attest not every shot we take is worthy of seeing the light of day.

My collection

View Cameras
I own three 4x5" view cameras. Two Omega mono rail models ( E and D) and a Graflex Crown Graphic. I have three lenses for them which can be used on any of the bodies. A Schneider 210 mm and Super Angulon 90 mm and an Optar 150 mm. These cameras produce a negative 13 times larger than a 35 mm. They have long been the staple of the commercial studio photographer. They can produce an image that can be enlarged to a high degree without obvious grain or sharpness drop-off. Most of the commercial/product photographic work I did in the 80's was done using this type of camera. They are big, heavy, hard to handle and require a fair amount of technical understanding to use correctly. I love them.

120 Roll film format
Also used quite a bit in commercial photography. This is my second favorite format. With modern films they produce an astoundingly sharp and clear image also capable of great enlargement. I have four cameras of this format. Three in the 6x6 cm (2 1/4x2 1/4") format and one in the 6x4.5 cm format. I have a Rolleicord 1V, a Mamiya C-3 and a Mamiya 6 in the 6x6 cm format. I also have a Mamiya J model 6x4.5 cm with four lenses. The Rolleicord is fixed lens camera using an excellent Schneider Xenar 80 mm lens. The Mamiya C-3 is an interchangeable lens camera and I have two lenses for that system (105 mm,180 mm). Both the Rolleicord and the Mamiya C-3 are "TLR"'s or Twin lens reflex cameras. The Mamiya 645 is an"SLR" or single lens reflex camera. The Mamiya 6 is a folding type range finder camera built in Japan just after the W.W.II. I also have two 120 roll film backs for my 4x5" cameras in 6x7 cm and 6x9 cm formats.

35 mm
I have 8 35 mm cameras. Don't ask me why because I don't have a good answer for you. It is the format that I use the least. They are handy for news/journalistic type work, are easily carried and quick to have ready to shoot. The image can be enlarged to 11x14" and beyond with care though 8x10" is a better fit for the negative size in my opinion.  The most modern of my 35 mm's is the Minolta 7000 w/ a 28-200 mm zoom AF lens. The 7000 is an auto focus/manual motorized 35 mm system with program, aperture and shutter exposure modes as well as manual. I used one of these quite a bit in the 80's and it served me well. Now they can be had for less than $100.00 with a good lens. I also have two Minolta X-700 bodies and several lenses for that system. They have about the same exposure automation as the 7000 and can also used in a full manual mode if desired. Both of the X-700 bodies have motor winders on them so they are very good for situations were speed is an issue. They are not very quiet however making a fair amount a clacking and whirring sounds as they expose and then advance the film. If I want make less noise I use my oldest camera. A 70 year old Leica IIIa. It is my favorite 35 mm camera because it is so well made. Such a precision instrument. My next favorite is a 40 year old Yashica Electro GS 35 mm. A fairly inexpensive fixed lens range finder type camera with a surprisingly good lens. I also have a Pentax MG which was a gift from a relative and a Zorki 2C which is a Russian copy of the Leica and a Canon EOS Rebel.. All are good cameras but none of the three is what I  grab first if I wanted to quickly take a photograph.

I have two digital camera. A Minolta Z-1 and a Panasonic FZ 20. The former was actually a mistake and the latter is the correction of the mistake. I wanted a digital camera to use as a "digital" polaroid test shooter for shooting larger format film shots. When I was doing commercial photography in the 80's we used a polaroid back on the view camera to check lighting and composition before committing the shot to film. I intended to do this again when I got back into photography but things had changed quite a bit. The sheet Polaroid film is still available but the type I want costs about $60.00 for 20 sheets in 4x5. Add the cost of the color 4x5 sheet film and processing and I would be spending about $8.00 per sheet before I had any prints made. I could not justify spending that much per shot as a hobby but I wanted to be able to "see" my shots (especially indoor multi-flash studio shots) before I committed them to film.  My solution was to buy a digital camera with a flash hot shoe and a manual mode so that I could mimic my shots in digital before shooting in film. But.... I screwed up the first time. I was buying online and only had the description and a few images of the camera. The Minolta Z-1 does indeed have a hot shoe and a manual mode but it turns out that it is a special hot shoe only used by Minolta and further the Minolta digital flash system WILL NOT sync with standard off camera pro level strobes. I spent a fair amount of money trying to make it work without success. At the time I had spent all I could spend on photo related items and had to wait a while before correcting my mistake.

Which I finally did recently. Although I am a firm fan of film cameras I am in awe of the quality of the Panasonic FZ 20. It is an amazing digital camera. To start with it has a beautiful lens made by Leica which is considered to be one of the best lens makers in the world. It has the equivalent in 35 mm lenses of a 38 to 420 mm zoom lens. It does have a manual mode and a hot shoe that works with my external flashes and it puts out an astoundingly sharp image with excellent color. Having done a fair amount of lab work over the years in both color and B&W I am very critical about print image quality. I had an 8x10 traditional print made of an image from the FZ 20 and I can find no flaw. I am aware that even 35 mm film when professionally scanned can produce an image that is superior to most if not all digital cameras in use today. However the cost per frame of that level of scanning is quite high and not practical for my situation. I still shoot medium and large format film cameras but I doubt I will be doing much more with my 35 mm gear. The Panasonic performs that level of task very well and I only have to pay for prints when I want them.  But the digital cameras of today still cannot equal the quality of image produced by medium and large format cameras and I will continue to use them as long as I can get film and processing for them.
 
 



My neighbor's Indian
Mamiya 645 w/55 mm lens. Ektachrome 100 asa.
 
 
 

Fox Tucson Theater

Rolleicord 1V w/Schneider Xenar 80 mm lens. Ektachrome 100 w/80A filter.  By pure chance I was downtown
shooting night shots and I noticed that it was the opening night for the old Fox Tucson theater. The Fox had been closed for several years and a group of local businesses working the the city government brought the theater back to its original 1930's elegance. I have many fond memories of this theater and I cannot count the number of movies I saw here as a child.

 


Traveling Carnival
Mamiya 645 w/210 mm lens, Ektachrome (ASA 100)
 

Another traveling carnival.
Mamiya 645 w/ 55 mm lens. Ektachrome asa 100 80a filter.
 
 


View from A Mountain, Tucson, Az.
Mamiya 645 w/150 mm lens. Ektachrome 100 asa film. 


View of A Mountain Fourth of July, 05'
4x5" view camera w/Schneider Super Angulon 90 mm lens. Ektachrome asa 64.
 

Minolta Z-1
 
 


Cruiser  (Minolta Z-1)

A friend and fellow photographer and I were sitting in my carport exploring our then new to us Minolta Z series cameras. Not a bad little digital. It has 3.2 mpxl and a 10x optical zoom. It also has a sepia tone option built in as many of the Digital's do today. Although I have other pictures of my motorcycle which show the entire bike I still like this image best.
 
 
 
 


 

Salsa
I belong to a local camera club which has a monthly "challenge". The challenge this time was "color".
Panasonic FZ 20 at 80 asa. F-5.6 @ a 60th using a Sunpak 611 strobe with umbrella high right
and an addition white umbrella low left providing a smidgen of fill.
 
 
 
 

 
 
 


Gate's Pass
( Omega 4x5" view camera, Schneider 210 mm. Ektachrome asa 64)
 
 

"Corncob" Radial aircraft engine. Pima Air Museum
Omega E model 4x5" camera, Schneider 210 mm lens, Ektachrome 64.

<>Minolta Z-1
One thing the Minolta does pretty well is macro mode. I was playing with this feature when I got the camera and did a series of macro abstracts of which this is one.  It is a photo of a folded roll of adhesive label backing paper lit with the on camera flash with a paper towel over it to soften the light and a flashlight with a colored filter in front of the bulb. The paper roll is about 4 inches wide and the camera is only inches away from it.
 
 
 
 
 

Ajo Road looking west at sunset.
Minolta X-700, 28-80mm lens.
 
 
 
 
 

Leica IIIa w/Industar 61 50 mm lens KodakC-41 B&W.
 
 

Mamiya C-3 w/180 mm lens Tri-X 320.

The Mamiya twin lens reflex camera have very sharp lenses. The above image was scanned while the negative was still in the plastic protection sleeve and gave the image a much softer look which I liked.
 

 Minolta Maxim 7000 using a 50 mm lens. Kodak Plus-x B&W film.

The photo above is a perfect example of the "KISS" principle. I was shooting a series of shots for a hair salon and had brought quite an array of lighting gear along for the shoot.  After a few hours of shooting using quite elaborate lighting set up's we took a break and I stepped outside the back door of the salon for some air.  It was late afternoon and the sun was low on the horizon and was bouncing off the buildings behind the salon and lighting up the back door of the salon which was painted white. Randi stepped out and stood in the door and when I saw the overall lighting effect I asked her to stay put while I got my camera.  I like several of the shots from that day but this has always been my favorite.
 
 
 


Ashley on Mt. Lemmon
Mamiya 645 w/ 150 mm lens, Tri-X (ASA 400)
Ashley is a friend and co-worker and allowed me to photograph her on a number of occasions.


Ashley on Mt. Lemmon
Mamiya 645 w/150 mm lens. Sunpak 611 strobe with umbrella high right. Tri-X asa 400
 

Sunset from behind my house
Yashica Electro 35 GS, Kodak C-41 B&W film
 
 
 

La Placita Village, Tucson, Az.
Yashica Electro 35 GS, Kodak C-41 B&W film


Car Show
Minolta X-700 w/ 28-200 mm lens.
Kodak 400 asa print film.
 
 
 
 
 




Minolta Z-1 w/2500 D autoflash (ceiling bounce)

file:///C:/Documents%20and%20Settings/Administrator/Desktop/SYLTGW1.mp3

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