What was I thinking….
If there is one negative size format that I have been actively ignoring since I started to review cameras is half-frame. And there is a good reason for this, I struggle to finish off a roll of 36-exposures. And when it comes to half-frame in the realm of 35mm, 36 exposures turns into 72-exposures on a roll, even if I got a 24-exposure roll I’m still staring down the barrel of 48-frames. But it seems that half-frame has gotten a bit of a revival with more people wanting to increase the number of shots on a roll especially with the cost of films these days. And while there are a lot of classic half-frame cameras out there, I wanted to start with something newer that isn’t expensive. So a couple years ago RETO released the Kodak H35, a plastic half-frame camera. Now I’ve used RETO products before, namely their version of the Ultra-Wide & Slim, and it’s a decent camera. But again, I didn’t want to jump on a half-frame camera. Then last year, RETO released an updated version of the H35, the H35N. Well this got me interested because of the updates. I was already to purchase one, but then a good friend intervened and offered up their copy for a loan. Thanks to Molly Kate for letting me borrow this interesting little camera for a review! And make sure to check out her YouTube review and written review on 35mmc in the additional reading section!
Camera Specifications
Manufacturer: RETO
Model: Kodak Ektar H35N
Type: Point-And-Shoot
Format: 135 (35mm), 18x24mm
Lens: Fixed, Kodak Aspherical Lens F=22mm f/8 (2-Elements, 1 glass, 1 acrylic)
Shutter: Leaf Shutter, 1/100s + Bulb
Dimensions (WxHxD): 110x62x39mm
Weight: 110g
Power Source: 1x AAA Battery (Flash Only)
Year of Manufacture: 2023-Present
Background
While RETO is a new company in the photography world, half-frame photography is far from new. But which came first, full frame or half frame? The answer is neither, the original frame size for 35mm film came in 1889 from the motion picture industry, which used a smaller frame size (16x22mm) for vertically travelling film. It was the Leica I, that took 35mm cine film, ran it horizontally through the camera and exposed a 24x36mm frame size in 1913, and that gained popularity in 1925. Kodak would codify the frame size and cassette type we know today as the 135 format. It wasn’t until the 1950s that a new motion picture format, known as Super 35 that the 18x24mm frame-size was starting to see use. The engineers at Olympus looked at the Super 35 format, and saw an opportunity to double the amount of frames on a standard roll of 35mm film. It should be of no surprise that this idea came from Japan, the idea of stretching how many shots on a roll started in the post-war era with the first several Nikon rangefinders shooting a non-standard frame size for economy. Olympus would release the first half-frame still camera, going for a frame size of 18x24mm in portrait orientation. Designed by the legendary Yoshihisa Maitani, the Olympus Pen is a compact zone-focus viewfinder camera featuring a D.Zuiko 28mm f/3.5 lens. Most of the Pen series of cameras followed this same idea, a simple, compact camera designed for snapshot work. One interesting addition to the family is the Olympus Pen F, a fully manual half-frame SLR with interchangeable lenses. It retained the compact size thanks to the porro-mirror design, so the viewfinder could be offset from the lens. Other companies would begin to produce half-frame cameras; the Ricoh Auto Half was produced from 1960 to 1963 with eight different models, and the Auto Half was also rebranded and sold as the GAF Ansco Memo II. Konica would put out a traditional SLR, the Auto-Reflex (different from the Auto Reflex), which allowed users to select either full or half-frame mode. While many of these companies would stop producing half-frame cameras by the end of the 1960s, Olympus continued building improved models until 1983, with the Olympus Pen EF being the final 35mm camera. While the format fell out of vogue, it maintained a cult following among film photographers. Skip ahead forty years from the last Olympus, RETO would introduce their first half-frame camera, the Kodak Ektar H35. The H35 foundationally was the same as the RETO Ultra-Wide & Slim, with the same plastic lens and shutter system. The body contained a flash, more controls, and a battery compartment. In 2023, RETO released an updated version, the H35N, adding a coated glass element to the lens, bulb mode, some metal in the body construction and a star filter.
Impressions
The H35N is one fine-looking camera; but it is a rather small camera overall, barely taller than a standard 35mm film roll. But despite this, it doesn’t feel too small in your hand. The overall look of the camera reminds me of the older Instamatic line of cameras—specifically the Instamatic 32, with a slight two-tone appearance and bezel around the lens itself. The camera itself is lightweight but has a bit more heft than the RUWS; the inclusion of aluminium in the build is simply part of the front face plate and doesn’t add to the main structure of the camera. It is still almost entirely made from plastic; the metal is merely cosmetic. Even the single AAA battery doesn’t add too much to the overall weight. The controls are simple, with a single raised shutter release that has a nice feel to it, and the addition of a standard mechanical release socket is excellent, but that only works for bulb mode, not the traditional release. And there is a (plastic) standard tripod socket on the bottom. One exciting feature is that the flash on/off switch (located on the lens bezel) also will switch the aperture from f/11 (flash off) to f/8 (flash on), but you can remove the battery to give you access to that second aperture without triggering the flash at the same time. Also near the lens is the switch to engage the star filter. The film advance is a simple dial type but is opposite from your shutter release, so you need a second hand to advance the frame.
Experiences
If you’re used to other cameras from RETO, the Ektar H35N will feel instantly familiar. It’s a small compact camera that is incredibly simple in design and operation. I went into this review expecting to struggle with the camera, not in the operations of the camera but rather in getting the rolls done. The one thing that someone who, like me, is used to short rolls and even struggles with a 36-exposure roll is the daunting thought of doubling the number of exposures. Your 36-Exposure becomes 72, and 24 becomes 48, but I decided to set myself up for success from the start and give myself a big lead to get the job done. I dislike leaving rolls of film sitting in the camera for long periods, but this time, I gave myself two weeks to complete a roll and shoot it over multiple days and in other locations. I did that for both rolls over two months leading up to the release of this review. And you know, it worked; I didn’t feel any extra stress. Loading film into the camera is messy, given how plastic the camera is; it feels that you’re going to break the camera when loading in your roll, and it feels loose in the take-up spool, but it loaded and advanced without difficulty. The frame counter is more of a suggestion, and it is difficult to read which frame you’re on, and with so many, it’s hard to keep track. The camera is light, easily hangs off your wrist, and swings up when you’re ready to frame and take the shot. The viewfinder is again a suggestion but is laid out for the portrait orientation of the half-frame. I did shoot in landscape orientation for several frames, but that’s how I roll. The shutter is spongy, but there is enough feedback to let you know that the shutter fired, and the speed itself is fixed at 1/100″ and two apertures, f/11 or f/8. The f/8 aperture is also tied to the use of the flash, but without a battery, the flash won’t fire. It does give you another option in lower light conditions. As I mentioned earlier, the film advance is a dial type similar to what you have in the RUWS; in colder weather, it can be rough on your fingers and rugged to operate while wearing gloves of any substance. When rewinding the film, you feel as if you’re going to snap the rewind knob; it would probably take a lot more to snap it off, but in the words of Michael Raso, no violence, be gentle. While not my cup of tea, I enjoyed using the H35N a lot more than I had plotted in my head. It is one of those cameras you have to get out of your head with, shoot from the hip, don’t worry too much, and have a lot of fun using and embracing what the camera gives you. The one thing you need to remember is that because everything is fixed on the camera, it’s a good idea to have some capacity to adjust development time to compensate for any under or over exposure if the conditions were not ideal for the settings. In the case of the first roll, I should have reduced my development time by thirty-seconds, I made the point to make any corrections for the second roll.
Optics
For a simple-use camera, the H35N has some tricks up it sleeves to help improve the image quality that is outputted by the simple lens. The optics are based on the same lens found in the RETO Ultra-Wide & Slim, a simple single-element plastic lens. But the H35N improves on that by adding a second element, this one of glass and having a basic coating. Also as an aid to the optical quality, the film plane is curved slightly an old trick found in later box cameras like the Agfa Click II and Clack. By curving the film it reduces any imperfections and distortion caused by the low element count lenses found in these cameras. Now I’m not saying the image quality is rivaling that of a full on camera, but for what the H35N is, it is good enough. The 22mm lens offers up a wide-angle view, even with the smaller negative size and combined with two apertures, f/11 and f/8 there is plenty of depth to ensure that most of your frame will be in focus. quality discussion from direct images. There is one more trick and that’s the addition of a star filter, you can slide this etched grid over the front element that will turn points of light into stars, it’s an old trick and I even have one such screw-on filter kicking around in my accessory bin. Not my usual taste, but given the target market of this camera, it’s a neat little addition.
Lowdown
I had a lot more fun with the H35N than I expected and that’s not even being in the target market. It made me think a lot more about half-frame outside of the idea of more exposures per roll but as a different way to see the world as a photographer. The H35N is a good camera for what it is; there’s no point in comparing it to half-frame cameras produced during the first height of the format. But when compared to the original model, the H35N is a massive improvement. Overall this is an ‘ish’ camera, it has a 22mm ish focal length, aperture of either f/11 or f/8 ish and a shutter speed of 1/100s ish. Don’t expect top quality images, but rather expect images that are good enough. One of the best parts is that you can buy the H35N and the H35 new; the H35N cost about 90$ Canadian and come in various finishes to match your style. But the big question is, do I recommend the H35N? That answer is yes, but you know what you’re getting into first.
Further Reading
Don’t just take my word on the Ektar H35N; you can check out the reviews by other awesome camera reviewers!
35mmc – Worth the Upgrade? Reviewing the Kodak Ektar H35N
Johnny Martyr – The Kodak Ektar H35N Has Another Important Hidden Feature
Camera Go Camera – Kodak H35N Review
Canny Cameras – Half Pint Class with a Glass: Kodak Ektar H35N
Analog.Cafe – Kodak Ektar H35N Glass Lens Reusable Camera Review
YouTube: Eclectachrome – Kodak Ektar H35N Review
YouTube: The Old Camera Guy – Kodak Ektar H35N | A Complete Guide
YouTube: Bon Adriel – Kodak Ektar H35N: How to Use + Sample Images
YouTube: Max Kent – The NEW Kodak Ektar H35N – Full Review & How To