35mm Camera Recommendations (Part One: SLR & Rangefinders)

Film has experienced a bit of a resurgence in the past five or so years. We’ve seen a proliferation of never-before-made film stocks and even some of the ones killed off have been brought back to life (Fujifilm Acros 100 – my favorite b&w stock). As a life-long avid shooter of film, from 35mm to 4x5, and experience with thousands of camera models, I thought I’d do a post on my own suggestions – from sub-$100 bargains to collectible, premium offerings.

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Nikon FM w/ Nikkor 50/1.4 AI-S

Each pick is only that – my choice based on user experience and, naturally, my personal preferences. There are obviously dozens, if not hundreds, of other options that others may prefer. None of my picks are meant to imply that others are inferior; so, before you ask “what about [so and so]??” please keep in mind that I guarantee I already considered it, I probably love the camera, and simply prefer whatever I chose instead. Though I will say almost all of these are limited to manual focus cameras only. Maybe I’ll do a later article on autofocus 35mm cameras, because there are plenty of truly great ones (Nikon F100, Pentax MZ-S, Canon EOS-1, Minolta Maxxum 9 (a-9), Nikon F4/F5, etc, etc).

I will do further articles on 35mm compacts and medium-format options, as well. This one is limited to 35mm interchangeable lens cameras.

(Pictures are from cameras/lenses I’ve had in my possession - often quite briefly - over the years, so the quality is not great)

Ultra-Bargain (<$75 w/ lens)

Yashica FX-103 Program

This is actually one of my favorite hidden gems of the film world and can routinely be found with a Yashica 50mm lens for $50-75. It uses the Contax Yashica (C/Y for short) bayonet mount, which means it can utilize all of the extremely excellent Contax Zeiss lenses, many of which are still incredibly good even on high-resolution digital cameras. In fact, many of the lenses were so good that some of their designs exist to this day in the Zeiss Milvus series.

Contax themselves produced a number of great 35mm bodies, many with some incredibly advanced features (the Contax AX can autofocus with manual focus lenses). However, a lot of these are motor-wound (meaning no film advance lever) and most have reversed controls with the shutter speed dial on the left-hand side. I tend to prefer the simplicity and tactility of a manual advance lever and traditionally placed shutter speed dial.

The FX-103 Program has four modes: P (Program), HP (High Speed Program), A (Aperture Priority), and M (Manual). That’s far more than most cameras in this price range, plus it has an unusually extensive ASA range from 12 to 3200. There really isn’t anything to complain about here.

Bargain ($100-175)

Minolta X-570 or X-700

There are a number of great options I considered here; Nikon FE, Nikon FM, Pentax K2 or MX, but ultimately settled on the Minoltas because the X-570 was one of my first cameras and they’re powerhouses – loaded with features, and compared to the Nikons or Pentaxes, the glass is a good deal more affordable. The X-700 has Program and Aperture Priority, and Manual modes; the X-570 lacks Program, which is honestly not a mode I ever use with 35mm cameras anyway. Otherwise, the bodies and features are nearly identical.

There are a plethora of great Minolta lenses available at very reasonable prices; there is also the renowned 58/1.2 Rokkor which is a nice chunk of glass that produces lovely, dreamy images wide-open. Even that lens can be found at fairly decent prices. Your regular 50/1.8 or 50/1.7 lenses are dirt cheap and 50/1.4 or 55/1.4 lenses are incredibly affordable as well.

Make sure to check compatibility between lens type (MD vs MC) if you intend to use the X-700’s program auto mode (MC lenses are aperture priority or manual only).

Nikon FA

In the 1970s and early 80s, Nikon made a number of exceptional “mid-range” models – that is to say, they were designed to be a step down from the top-end Nikon F2/F3 variants. But, they proved highly reliable, durable, and a bit more compact – so they found a huge home with photographers of all kinds. These models included the Nikon FE, FE2, FM, FM2, and the ahead-of-its-time Nikon FA. Introduced the year after the FM2 and the same year as the FE2, it was positioned as an advanced amateur body. Yet, one feature in particular – its multi-segmented exposure meter – was the first of its kind. Today it’s better known as matrix metering (Nikon), evaluative (Canon), multi (Fujifilm & Sony), etc. It’s a now-commonplace metering mode that utilizes a microprocessor to analyze a scene and select the appropriate exposure.

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Nikon FA w/ Motor Drive

The FA also offered four exposure modes – Manual, Aperture Priority, Shutter Priority, and Program Auto. This was, again, a first for a Nikon camera until 1988’s Nikon F4.

Lastly, the FA could mount AI, AI-S, AI-P, and non-AI lenses (though the latter would not be able to make use of all exposure modes). I believe it was the last body with the ability to accept non-AI lenses until the FM3A many years later.

Today, excellent copies can be found for $100-130, easily. It’s a steal.

Mid-Range ($200-500)

There are tons of amazing options in this range and I could do a list of 30 of them. But I’ve picked five favorites of mine from five completely different line-ups.

Nikon F3 / F3HP

The Nikon F3 is one of the finest cameras ever camera – by anyone. It is nothing short of perfect; rock-solid build, amazing ergonomics, and one of the most dependable cameras I’ve come across.

The F3 is, of course, the successor to the legendary Nikon F2, but this time with a built-in light meter (no clunky finder necessary) and aperture-priority automation. Like Nikon’s FE/FE2/FA models, the F3 has an electronically controlled shutter, so it will not function without batteries (though on a personal note, in my experience with thousands of cameras, the longevity and reliability of mechanical and electronic cameras is no different – do not be concerned about it, at all).

Its successor – the F4 – was a revolutionary camera and well-worth owning if you need autofocus, but me? I like manual focusing on the nice, bright, beautiful matte screen, and – while it may seem minor – I like a thumb-operated film advance as opposed to automatic motor winders found in the F4 and all later autofocus cameras.

The F3HP is simply the F3 with a high eye-point finder (very nice for those of us who wear glasses). Since the finders are interchangeable, a regular F3 can become an F3HP by swapping in the DE-3 finder, and an F3HP can use one of the many other finders available – including the basic DE-2 finder. There’s even a (very cool) waist level finder available (DW-3). Focusing screens are also easily interchangeable.

Minolta XK (aka XM, aka X-1)

I have a fair number of cameras that I came across or fixed and then sold, now wishing I hadn’t. The Minolta XK would rank up there quite high, along with the Contax S2 described below.

Quite simply, this thing is an almost brick. It may be the most solidly built 35mm camera ever made. With the AE prism (includes aperture-priority) finder attached, it is a hulking beast with tall shutter speed and ISO dials (not unlike the Nikon F2 with Photomic Finder, except larger). With the plain and unmetered P-finder, the camera has a much sleeker design (again, not unlike the Nikon F2 with the unmetered DE-1. Like the F3, a waist level finder is also available.

With eleven interchangeable focus screens, a horizontally traveling titanium shutter, and a beyond impressive brass construction, this is one of the finest cameras of its time. Lenses are also excellent in quality and now low in price compared to glass from Olympus, Nikon, Pentax, and others.

Contax S2

The Contax S2 is on the higher-end of the price spectrum compared to some of these others, depending on condition and where you buy from (KEH currently has one for $542; I have seen some from Japan for $400).

This is one of the last Contax C/Y bodies released – done so to commemorate the 60th anniversary of Contax cameras (some bodies even have “60 Years” emblazoned on the front – naturally they fetch a higher price tag.

The S2 (and later, the S2b) are actually rather simple cameras. Mechanical shutter, no auto-exposure modes, and a simple spot-meter (unusual at the same) powered by two LR44 batteries. It’s as basic in operation as a Pentax K1000 or Nikon FM.

The beauty, I suppose, lies in this simplicity. Unlike previous Contax bodies, which swung for the technological fences, the S2 was as minimalist as it gets – and I actually quite like the spot-only meter. And, unlike prior bodies, the design is more akin to the standard orientation of Nikon, Pentax, Canon, etc. bodies: shutter speed dial on the right, ASA dial/exposure compensation on the left, manual film advance lever. The main reason I preferred Yashica bodies over Contax was due to their reverse shutter/ASA dial positioning and (often) motor-driven film advance. The S2/S2b is none of this.

It pairs particularly well with the phenomenal Contax Zeiss 45/2.8 Tessar.

The S2b uses a center-weighted meter and is available in a lovely graphite finish. Otherwise, the two are identical.

Contax G1 (Green Label)

Contax – again pioneering some of the most innovative technology – surprised the camera world in 1994 when they released an autofocus rangefinder. That camera was the G1: a titanium-clad body with electronically controlled exposure, autofocus, and rangefinder system. Lenses are screw-driven via an in-body motor that turns a pin on the lens mount, forcing the helicoid back and forth.

Unlike every other rangefinder camera to that point (and since then), the viewfinder field-of-view changes depending on the lens being used. That is to say, instead of relying on a small box in the middle of the frame for a 90mm lens, the viewfinder “zooms” to fill the entire frame (not unlike a modern mirrorless camera).

None of this would be wholly persuasive to convince you to add it to your bag, but the lenses are what clinch the deal. Like most Contax lenses, G-mount glass was made by Carl Zeiss – and they are some of the company’s finest work. Ranging from a 16mm Hologon to a 90mm Sonnar, all of the lenses are optical works of art. In my opinion, the 90/2.8 Sonnar and 45/2 Planar stand out as the crown jewels, though I have heard the 16/8 Hologon is a true beauty (and also very expensive).

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Zeiss Sonnar 90mm f/2.8 for Contax G

The 90 Sonnar can be found dirt-cheap (<$200) and is a must-have lens for any G1 or G2 owner. It also adapts easily to most mirrorless systems (Sony E, Fuji X, Micro 4/3, Nikon Z, maybe more) – though due to the lack of a focus ring on G lenses, focus must be controlled by a ring on the adapter. I actually didn’t mind this at all (I use a Fotodiox Pro and a Metabones – both great, with an edge to Metabones). The 28mm and wider lenses don’t perform as well on digital bodies, but the 45 and 90 lenses are excellent.

If you search for Contax G1 bodies, you may find some described as “green label.” These are updated versions with modified ROM and will have a literal green label inside where the film canister sits. The upgrade allows these bodies to use the 21 and 35mm lenses (regular G1’s can only use the 16, 28, 45, and 90 lenses). No G1 can use the 35-70 zoom.

Leica CL/Leitz Minolta CL/Minolta CLE

When it comes to rangefinders, the Leica CL (sometimes labeled Leitz Minolta CL) is one of the best deals on the market currently.

The CL was designed in concert with Minolta. Unlike many other M-mount rangefinders, the CL has framelines for 40mm lenses – along with 50 and 90mm. Leica and Minolta designed and released a Leica 40/2 Summicron (almost certainly a wholly Minolta design) that was bundled with the camera as well as a Leica Elmar-C 90/4.

Like the M5 that was released one year prior, the CL uses CdS meter on a pivoting arm in front of the shutter that drops down right before the moment of exposure. Because of this, certain lenses cannot be mounted without damaging the arm: those with excessively protruding rear elements (usually wide-angle) and collapsible lenses (which can be used if you don’t fully collapse them).

Seven years later, Minolta introduced the very similar Minolta CLE – one of the most advanced rangefinders of its time due to the presence of aperture-priority autoexposure (something Leica wouldn’t accomplish until the release of the M7 decades later).

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Example of white spots and coating damage on an M-Rokkor 28/2.8. There was little effect on image quality, with the exception of excessive flare when directed toward a strong point source (and without a hood).

The CLE included framelines for 28, 40, and 90mm lenses – the former due to Minolta’s introduction of the M-Rokkor 28/2.8. They also released the M-Rokkor 40/2 and M-Rokkor 90/4 – these two being identical to the previous Leica versions, as far as I know. The M-Rokkor 28mm is notable for its development of white spots inside (which often don’t affect the image) and the middling durability of its coating. Nonetheless, all three lenses are exceptional optics.

……………..CONTINUED IN PART TWO

UsedPhotoPro and KEH: Buy (and Sell) Used Gear

I wanted to do a quick write-up on two of my favorite suppliers of used camera gear (in the United States, anyway) – Robert’s Camera in Indianapolis, better known as UsedPhotoPro when referring to their used department; and KEH Camera in Smyrna, Georgia just outside Atlanta.

Disclaimer: I am an affiliate of both UsedPhotoPro and KEH, so any referrals via this site do net me a small fee. However, there are very good reasons I wanted to partner with them. Keep reading for more on that.

I have purchased a lot of gear from both companies, but UsedPhotoPro in particular has sold me untold numbers of cameras, lenses, and other equipment. Back when I was repairing cameras and lenses, I would order clearance (“as-is”) items from them pretty much daily – everything from standard 50/1.8 vintage lenses to Leica rangefinders – almost anything you can think of. And, of course, they were (along with KEH) my go-to source for non-clearance used gear.

Honestly, I’m pretty sure some of the folks at Robert’s thought I was insane, given how much I ordered from them. Depending on if I was at home in Tennessee or up in Ohio, I would have orders shipped to both locations. Once, when picking up an order in person, the fellow assisting me noted that it was very strange how a guy in Tennessee also named Matt Williams orders a lot from them as well.

Take 5% off for first time shoppers

I’ve been to Robert’s Camera’s location in Indianapolis countless times to pick up orders. The staff – whether in person, over the phone, or via email – has always been the best group of folks I’ve ever dealt with. Any time I had a problem (of which there was one, maybe two, out of many hundreds - if not thousands - of orders) it was corrected immediately and without issue.

KEH, which I have never been to in-person given its location in Georgia, has likewise never been anything but nice, accommodating, and quick to answer or solve any requests or issues. Both companies ship out same or next day* (depending on when you order) and items are always as-described or pictured.

*At least they normally do. COVID-19 may well be delaying orders a bit, just as it is at B&H and Adorama.

UsedPhotoPro has detailed photos of all of their items, so it is very easy to gauge the cosmetic condition. Optical flaws or functional issues are obviously harder/impossible to photograph, but you can trust their descriptions. KEH only includes stock photos on their website for each item, but let me tell you this: anything rated “Bargain” or higher is going to be in excellent condition. KEH’s “bargain” is what many eBay sellers would call “excellent” or “near mint.” I’ve even ordered a number of “ugly” items that were in considerably good condition. “As-is” items are best avoided unless you need parts or want to repair.

Both companies of course purchase used gear – I have not sold anything to either, so I have no idea what their offers are like. However, I do know that KEH will give you a free shipping label to send your gear in, examine it, send you a quote, and if you decide not to sell, they’ll ship it back for free. No loss to you either way. UsedPhotoPro’s site should detail how they do quotes, but I am sure it is simple.

Oh, and did I mention that used gear from either store comes with a six month warranty?

There aren’t many places that I wholeheartedly recommend for purchasing camera gear; there are even fewer when it comes to used gear. UsedPhotoPro and KEH are the only two that I would recommend without hesitation and without exception.

About My Reviews & This Site

First of all, thank you for visiting my new site. As noted above, it is still under construction but should be fully functional shortly.

This is site is centered around photography (and some videography/cinematography). The main types of content you will find here are:

1) Gear reviews (e.g. lenses, cameras, tripods, etc.)
2) Informational articles about photography (e.g. shooting technique or post-processing in ACR & Photoshop)
3) "Musings" or general thoughts about photography and the camera industry.
4) Articles that are more nebulous in nature (for example, I'm working on one about Cinema vs. Stills Photography) - I guess these could be called "philosophical" articles.

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Graflex Crown Graphic
Olympus OM-D E-M5 w/ an Olympus 30/3.5 Macro

Given the volatility often seen in the comments and forums of gear related sites, I figured I’d get a few things out of the way up front about how I approach my reviews and why I do or do not include certain things a person may be accustomed to if they read other sites. For example, I don’t shoot test charts or brick walls*. If I did, I certainly wouldn’t post the pictures.

 *Ok, sometimes I shoot brick walls as they are an easy and quick way to gauge certain optical flaws with lenses and rule out (or confirm) sample variation for my own testing purposes. The fact that I have to walk ten feet to get to a brick wall is helpful too.

I’ve used, by every reasonable definition, a hell of a lot of cameras (translation: at least one camera, usually far more, from every modern manufacturer with the exception of Phase One). I am loyal to no brand beyond the investment I have in my own equipment; it is of course costly to switch an entire system. And rather pointless, given that every system has both strong assets and varying deficiencies. You either work around the deficiencies, find an alternative, or invest in multiple systems.

Such shortcomings can range from lack of necessary lenses (macros, tilt shifts), to size/weight, to basic feature sets; a Fujifilm X100F probably wouldn’t be a sports photographer’s most wise choice of gear, while a Nikon D5 likely wouldn’t be the greatest pick for backpacking the Appalachian Trail.

None of this is to say I don't have my preferences in terms of UI or haptics - which generally tend to be (relatively) similar among models from the same manufacturer - but again, this has nothing to do with the name on the front. Besides, show me one person who doesn't have such preferences one way or another.

The point is: I use the gear that works for me. What works for me is not what works for everyone. I won’t tell you how well X camera does at tracking a football player because I don’t shoot sports. I don’t care what the name is on the camera; it either works for me or it doesn’t. Nothing is ever perfect, nor is anything ever absolutely worthless. I have to decide where it lands in that gray area for me; though I may certainly recommend something that doesn’t particularly work for me, but is obviously valuable for others.

I run systems across three different sensor sizes (four, if you count the iPhone). At any given time, I have lenses from at least seven or eight different manufacturers. That’s just counting non-vintage lenses (and I don't care to spend half a day counting the number of those in my arsenal). Everything is ultimately a compromise between utility, need, quality, price, and ROI (and, I admit, there is often a “want” factor that wiggles its way in there too). A lens like the Panasonic 12-32/3.5-5.6 is not a perfect – or even great – lens (it is very good, though) but it does check a lot of those boxes and ultimately adds up to a rather great investment, particularly if purchased as a loss leader within a kit.

I am both a photographer and videographer. That does not, however, mean that I will test the video capabilities of every camera. In fact, I won't test the video capabilities of most stills cameras. I have no interest in using a Nikon D850 for its video in the same way I have no interest in using a Blackmagic Pocket 6K for stills photography. If I’m going to shoot a casual video for whatever reason, I’ll just use my iPhone. A camera has to have significant enough advantages for me to consider it as a useful videography tool and therefore for me to subsequently spend time evaluating it for such use. Not to mention, my threshold for video quality is quite high and there are few stills/hybrid cameras on the market that meet those demands (though the list is ever-growing). Video remains in a very binary realm for me - either impromptu and casual (deploy the iPhone) or extremely planned and meticulous (deploy a cinema camera). Exceptions, of course, exist.

Lastly: I do not post full-resolution photos because I've had far too many instances of image theft, even just via personal social media. Exceptions may be made in A-to-B comparison (i.e. X lens vs. Y lens) reviews.