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What makes this camera interesting is that while it fits in the general size and theme of the digicam realm, but it also is a little too new to fit into that first decade of the 21st century and it uses a CMOS rather than a CCD sensor. Now in full disclosure some of I have written about some of the ‘digicams’ that I have used in the past when they were still new. But they had long passed from my toolkit, so when I got my hands on the WX7 I decided that I would give this lovely piece of kit the proper treatment.Read More →

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The third in the Elan series of semi-professional cameras released by Canon and the direct successors to the original EOS 650, but why not call it the Elan III? Well, that’s because Canon makes weird choices with their camera names. In the case of the Elan 7, the number seven has nothing to do with the number of models but rather the seven focus points in the new AF module installed in the camera. Unlike my previous Elan camera, the IIe, the Elan 7 I’ll feature in the review is the model without eye control. But the difference between the IIe and the 7 isRead More →

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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 costRead More →

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I first learned about the fourth generation of Minolta SLRs from the Film Photography Project and Leslie Lazenby’s promotion of the Maxxum 700si as one of the perfect autofocus SLRs ever produced. And having used one in the past, the 700si is a good camera. I used one for a few rolls before passing it along; I had yet to return to the Minolta A-Mount. Then I got a 7000, which burned and was replaced with a Maxxum 9 because why not go from one end to another? It was with the ‘9 that I got my taste for the A-Mount. But in my reviewRead More →

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You will have to pry my Rolleiflex from my cold dead hands. But as wonderful as they are to use and the top-notch images, they aren’t the cheapest camera. But the folks at Rollei (Franke & Heidecke) realised that the cost of their cameras put them out of reach of many photographers. Enter the Rolleicord, the low-cost TLR, in the greater Rollei ecosystem, is the lowest tier, with the 2.8 Rolleiflexs at the top, followed by the 3.5 Rolleiflexes next and then Rolleicord. But that doesn’t mean you should turn your nose up at these cameras. While they never reached the same level of technologicalRead More →

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When it comes to reviewing cameras, I love reviewing the cameras that have impacted photography or are relatively cool and unique. And this camera is one that I have referenced a couple of times in the past as being part of a significant stepping stone in Canon’s journey towards an autofocus camera. While autofocus first hit the markets in point-and-shoot cameras, building an AF system for an all-in-one camera is easy; putting it in an interchangeable lens SLR is another ballgame. When Minolta jumped right in with the A-Mount, Canon took a more cautious approach even before Minolta launched the Alphas. The AL-1 was aRead More →

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The often overlooked Nikkormat line of cameras is an excellent addition to anyone with a large selection of manual focus Nikon glass, both original Auto-Nikkor or the modern AI and AI-S glass. Sold as a consumer camera built to the same quality and specification as the professional Nikon cameras of the era, today, they have more of a cult following. While most people will gravitate towards the improved original Nikkormat FTn or the short-lived FT3, the FT2 is the forgotten middle child and is the ultimate Nikkormat. With backward and forward compatibility, a modern battery cell, over its life, never changed. Thanks to Bill SmithRead More →

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I’m not always one to follow trends, especially regarding the cameras I use. But there is some wisdom in reviewing cameras that are still reasonably trendy within the film photography community. And doubly so when that camera is significant within the overall history of photography within the consumer sphere. That camera is the Canon AE-1. While the AE-1 Program and F-1 get much fanfare, the AE-1 remains a stalwart consumer camera that has maintained much of its following within the modern film photography community. It is often found on big-name Instagram and YouTube Accounts, loaded with Portra 400, and sold well above their actual value.Read More →

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A particular classification of camera always elicits a nod of understanding; these are cameras with a mark of quality and precision. Names like Rollei, Hasselblad, Zeiss, and of course, Leica. Although through my work on this review, I have often found that not all Leica’s are treated with the same equal respect, and among many of the more snobbish Leica collectors and users, the M4-2 and M4-P are the ones that are seen as the redhead cousins of the classic M-Series of rangefinders. These cameras indeed hold a much higher space in my mind because of their historical significance in Leica history and Canadian history,Read More →

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Within the film photography community, the OM-System, specifically the Zuiko lenses, are held in high regard with good reason. The Olympus OM-1 is a stunning mechanical SLR perfect for beginners, and the sophisticated metering system on the OM-2 is brilliant. Even cameras like the OM-3 and the OM-4 are excellent replacements for the original two. But an entire subset of the OM-System often takes a backseat, the double-digit consumer models. As much a part of the OM-system as the single-digit ones, often holding some of the same technology. One such example is the original consumer model, the OM-10. The OM-10 was on my hit listRead More →