What I learned shooting... #4: Agfapan APX100 (35mm)

A thorough review and overview of one of the last batch of Agfapan APX100 in 35mm. Tested primarily with the Minolta XD-11, and Rokkor MC-PG 50mm 1.4 lens, and to a lesser extent the Minoltina AL-s. Primary Developers used were Kodak Xtol, and Rodinal.

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Sharpness Doesn't Matter.

Sharpness doesn’t matter.

Or at the very least, it shouldn’t be the most important question.

Full disclosure:

I'm a functional illiterate when it comes to finite technical details in photography; but I have the basic visual faculties to see what’s in front of me. Every time I trawl any forum where lenses are discussed, evaluated and ranked, the discussion always drifts to “how sharp is it? Or which lens is sharpest?” I used to read these threads, get invested, argue, and fiend over finding the “right” equipment. With limited exception, I’ve given up caring much about sharpness. Sharpness is a dumb concern, most of the time, and rarely matters much for most photographers in practice.

The first question I always ask when talking about sharpness, resolution or negative size, is “how big are you printing or displaying?” Like my complaint in my “your cellphone is all the point and shoot you need article” I’m going to repeat it here, again, “are you really posting or presenting your work anywhere aside from Instagram, on a 6.5” at the largest?” and the answer is usually a flat “no.” So what’s the purpose of caring or getting caught up in how sharp or “correct” a lens is?

Failing the need question on the basis of print size, let’s move on to content. How often does one really consider or need a ultra-highly resolved image down to the finest details? Or how often does ultrafine detail play into your imaging? If you’re a commercial photographer, or you work a lot with finite texture, and need to render images a specific, highly controlled way, this is understandable. However, how many people do you know who work with film, or really even digital, that are working on subjects like this? There’s a handful, sure, but do you? Is that really what you care about in photography?

Some lenses are just duds. They are bad, they make inferior pictures, with little upside like amazing bokeh or some other unintended but amazing effect. Likewise, there are some magic lenses, but they’re becoming exorbitantly expensive. Outside the maybe fifty odd “vintage” lenses that are “legendary,” it doesn’t matter, provided you don’t get a dud; A 50mm, is a 50 is a 50; some have better maximum apertures, and their renditions may vary, but they all essentially take the same photo. I feel like the lenses that prove the rule for me, are modern autofocus lenses, which have no discernable character, and have profiles in Lightroom that can fix base defects in seconds, you can essentially “fix” any two cameras and lenses to look next to identical in seconds.

I do not understand the need for sharpness or why the need for scientific accuracy is so dominant, film or digital. If I might offer up alternatives to “is it sharp” -- “will this lens do what I need it to?” “does the lens’s rendering actively compliment the aesthetics and subjects I’m trying to get?” “will it fit the arcane or special/specific need I need to render my vision?” -- rather than ask the bland, superficial, and ultimately pointless question of “how sharp is this lens?” My concluding questions, are “Is sharpness important?” and “why is sharpness important to you?”

Anyway, if you’ve enjoyed this essay, or any of the content on my website, consider buying a zine in the shop.

Huntington Library (i) -- 12/17

Huntington Library (i) -- 12/17

A walk around the Huntington Library and Garden. Testing a few different films and meditating on losses. Shot on the Minolta XD11, and primarily the 24mm md 2.8. The films used were: Fomapan or Arista 200, Fuji Neopan Acros, and Rollei Ortho 25.

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The Japanese Garden -- 4/18

I normally avoid the Valley. I call it Mordor. But Kristina and I were looking for something to do that Saturday, so we piled out to see “The Japanese Garden” which apparently isn’t just a garden but also a method of recycling sewage. Also it showed up in Star Trek, apparently. Pretty neat, but not quite as cool as the Huntington, or at least the Huntington’s Japanese Garden.

I think I burned a roll of fuji C200 to start, then switched to Ektar at the end. I also know I shot my 24mm lens for most of this.

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What I Learned Shooting... #3: Minolta XD-11 -- A Tribute

I’m gonna switch topics from film to cameras and lenses here for the next couple weeks while I wrap up my 2 100ft rolls of Agfapan APX 100. (I’m at #17/36 as of posting this)

I have pretty much all the gear I could want or reasonably need. I have a full shooting set of lenses (and a few extras) in Minolta SR (the actual name of the mount, not MC/MD -- so help me god if I hear one more person call it that...), and in Pentax 6x7 for medium format.

Over the last five years I’ve shot a Minolta XD-series (XD, 11, and 7) camera with near slavish devotion. I’ll test out a new camera now and again --mainly an SRT 102 (seriously underrated), and the Minoltina Al-s (also critically underrated).

I may switch to a compact rangefinder (say a CLE with Rokkor 40/2) now that I tote a Pentax 6x7 around for most of my “serious” work, and use 35mm as a bts/quick journal camera, but I’ll never get rid of my workhorse(s). Also if I end up doing more portraiture or editorial work, and it wasn’t on Medium Format, I’d happily shoot it on my XD.

Let me put a few things out there right now:

  1. I love these cameras so much, when I had all four break on me, I nearly got their serial numbers tattooed onto my ribs (I didn’t -- a friend pointed out that that was kinda Holocaust-ey, and maybe I should avoid that -- thanks Jake.)

  2. I’ve always been a “Minolta guy,” my first camera, at age 15 was an XG-M, the repair guys at my local repair shop Walter’s Camera Repair -- http://www.walterscamerarepairs.com/ -- Call me “the minolta guy.” (not a paid endorsement, seriously, if you’re in LA and need honest repairs done at a fair price and pretty quickly, they can probably help you out.)

  3. Either by gross overfamiliarity or closemindedness, I really don’t like most of the other 35mm camera brands’ SLR’s from the pre-autofocus era. I hate the Canon AE-1, I think it’s a bad camera with a backwards meter, honestly Canon SLR’s on the whole before AF are just straight garbage. Most of the Nikons are nice but badly designed, clunky, or flat out backwards -- good lenses though. I guess Pentax is okay (for 35mm -- Medium Format is a whole different story). I don’t know shit about Olympus -- people who shoot them seem to really like them.

  4. I think most reviews of this camera kinda miss the point of it. Or at least haven’t run  give or take 400 rolls through the the thing. It’s always “Leica this, Minolta that.”

  5. My complaints on reliability are a little bullshit. I probably ran +/- 75 rolls through the damn thing this year. I don’t think most people run that much through their cameras or tend to flat out abuse or over-carry their equipment the way I tend to. I’ll probably keep stricter track next year.

After nearly a page of disclosures and complaints here we go:

Here’s why I love this camera:

  1. It feels really nice in the hand. -- It’s a relatively compact design, but all metal, and it’s weighted really evenly with the 50 1.4 MC, which is the lens I use most as of writing this. I realize this is probably a dumb thing to vaunt as it’s best feature, but it makes it much more enjoyable to use regularly.

  2. It has a quasi-mechanical vertical shutter. While it lacks a really fast sync speed -- like a Contax g2 or a leaf shutter camera -- it can do 1/100th of a second, mechanically. I can shoot any lens I regularly use with it, safely, and mechanically if I have a battery failure. Also 1/100th of a second is fast enough for *most* uses. I know HSS is a hot commodity, but 1/100th is usably fast for me. Also, for an SLR, assuming you get a good copy of the camera, it’s really quiet.

  3. It has three modes in order of usefulness, Manual, Aperture Priority, and Shutter Priority. It’s not easy to accidentally switch between the modes, and they’re all pretty reliable --- the camera actually has a hidden program mode which double-checks your exposure and fixes it -- steplessly.

  4. The meter is good down to EV 1 -- Which basically has you covered in most situations you’ll ever run into, unless you’re a hardcore night photographer, or shoot mostly backlit.

  5. Kind of a no-brainer, which is why it’s #5 on my list, but Rokkor lenses.

Complaints:

  1. It’s a hard camera to fix. My normal shop can do a bunch of fixes on it, but they can’t fix everything -- apparently the circuit board is kinda janky, or not an easy one to fix because of how early-primitive it is in its technology.

  2. It’s not nearly as reliable as a standard mechanical camera. I put way too many rolls through my camera, but I still probably have to send it out once a year for maintenance.

  3. People have started to get in on the camera, and the price of them keeps climbing. Also the number of Black Minolta XD’s keeps shrinking. And if you’ve seen the black finish, you know how great it is. The silver is fine, but the black finish is just better.

What’ve I learned shooting it?

A lot.

I’ve had one (of four) basically since I showed up in Los Angeles five years ago.

Basically, with the XD-11, I’ve used it to shoot everything: friends, the city, my drive across America, my first fashion editorial --- which I’m pretty sure never got released --- and every project I’ve done in 35mm. If you look at my instagram or any 35mm feature or story on here, it was most likely shot on the XD11.

It also showed me what I like and dislike in a camera, and it’s now what I bench my expectations around.

Anyway -- Thanks for reading! If you’ve enjoyed this -- please consider buying a zine in the shop. It helps me keep the lights on here.

Feature #5: Mourning (Homecoming)

Feature #5: Mourning (Homecoming)

A trip home to Maine under the most dire of circumstances.

Two days of shooting, and three completely separate contexts: Eastern Prom of Portland, Maine, the Royal River, and a bridge over it, in Falmouth, Maine. A hiking path to Morse Mountain, and then Popham Beach State Park in Popham, Maine. Three different landscapes, and three different experiences.

Shot on a mixture of Portra 160, 400, on medium format film on a Pentax 6x7.

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Hermosa Beach -- Kodak Photo Walk -- 4/18

Hermosa Beach -- Kodak Photo Walk -- 4/18

Kodak Photowalk around Hermosa Beach led by instagram famous, and generally great photographer, Pete Halvorsen. Shot all on Kodak Ultramax 400 and Kodak Ektar 100. Pleasant surroundings and amazing sunset for the photowalk. I shot it all on my Minolta XD11.

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