I returned to film photography in 2017 after more than a decade long break. My gear is a mixture of Mamiya (6×6, 6×4.5) and Canon (35mm). My partner, who shoots digital today, used this Canon EOS A2 as his primary camera from the mid-1990s until 2006. After I had spent a year focused on technique with the all-mechanical Mamiya C330 (80mm Blue Dot f/2.8 Mamiya-Sekor lens) and a Canon FTbN (Canon 50mm f/1.4 lens), he handed me this A2 for 35mm use.
Like the FTbN in its time, the A2 was the semi-professional camera in the EOS line in the 1990s. This camera also has a vertical grip added. Other than a fresh battery, the camera needed no other servicing having been stored without a battery in a hard case, and not exposed to heat, strong light, or dust.
I purchased (used) Canon’s excellent 50mm f/1.8 lens specifically because of the classic look the 50mm field of view gives to photographs. The Mk 1 version of the lens I purchased was made in Japan and has a metal mount. At Canon 50mm f/1.8 (Mk 1) lens is known for the bokeh it produces. Plus the added advantages when shooting in low light situations of a wide aperture.
My good friends Kirk and Jon run IIWII Farms Bed & Breakfast in Paige, Texas. I offered to help them with a new cabin they’re building after all the help they’ve given us on our land. I also jumped at the chance since I knew this camera and lens combination would be ideal for a construction site set in a wooded area. Luckily we had strong sunshine on a temperate January day.
I travel extensively so I try and expose and understand every commonly available film emulsion possible. So if I am unable to buy more Kodak T-MAX, I know what I like next-best. In this case, the A2 was loaded with a roll of Kentmere 400 (135/24). All the photographs were shot at box speed and the film was developed at home in Kodak D-76. These scans were done using my cell phone and a Lomography 35mm scanner setup. Is this emulsion next-best? Depends on what else the shop I am in has to offer.
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This series is produced in conjunction with Hamish Gill's excellent 35mmc.com. Head on over to read the other half of these stories there.
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