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Book Review: Collecting and Using Classic Cameras , Ivor Matanle
A useful but not authoritative text
Ivor Matanle may be the first writer on classic cameras to write of them not merely as baubles but working photographic equipment for contemporary use, and for that alone he deserves a certain kudos. However, I have several problems with this book, especially in this edition. From the other works he has done it's evident he's a good black-and-white photographer, but this printing doesn't reveal this: the quality of photoreproduction is not excellent. Matanle is British, and the American reader will note that there are differences in nomenclature, in the cameras and lenses that are readily available (many items common in Britain would never be seen here), and in practices and attitudes regarding using cameras and lenses. While it's good to be exposed to foreign viewpoints, we are two nations separated by an almost-common language sometimes. As a prime example, how could one cover "classic cameras" and not discuss Graflex? Simply put, although technically "large format" (at least in the most common 4x5 size, although there are smaller Graphics),no photographer's experience is complete without having used a Speed or Crown Graphic-handheld, with sheet film or a rollfilm back. Although most of the cameras available today would seem like alien implements to photographers of fifty years ago, the principles of photography have not changed, and in fact many of the best cameras-M Leica, Hasselblad, Rollei TLR (yes, still in production)-are substantially similar today as when Frank, Dean and Sammy were on the charts, Marilyn was still the hottest movie star, and John Glenn getting ready to orbit the Earth. Others are very different from anything made now, yet sometimes capable of very good work with a little knowledge, and more conducive to doing so than today's popular microprocesssor-controlled polycarbonate affairs which often simply get in the way of, rather than facilitate, good photography. In addition, a camera that's still working-or easily made so-after fifty years stands a good chance of working fifty years from now, which is almost certainly not true of some modern cameras. |
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Book Review: Collecting and Using Classic Cameras , Ivor Matanle
"Paul" wrote in message om... A useful but not authoritative text Ivor Matanle may be the first writer on classic cameras to write of them not merely as baubles but working photographic equipment for contemporary use, and for that alone he deserves a certain kudos. However, I have several problems with this book, especially in this edition. From the other works he has done it's evident he's a good black-and-white photographer, but this printing doesn't reveal this: the quality of photoreproduction is not excellent. Interesting observation. I have seen two different copies of this book. The first, from my local library, contained photos that were sharp and contrasty. The second, which I was later given as a present, had the identical photos, but by comparison, extremely bad reproduction - low contrast, flat, gray, and often quite fuzzy with no oomph at all. I did however, find it an interesting read - Matanle is certainly enthusiastic in his quiet British way, and has a rather an old fashioned, but engaging , style in his writing. It got me keen enough to begin using old cameras, and I now have a nice, but modest, little collection of 35mm/medium format rangefinders, SLRs, TLRs, folders, all fully functional, mostly costing peanuts. A bonus is that once people know you are into this kind of thing, they will root around in the back of a cupboard and actually give you cameras/light meters/flash units etc just to get rid of them. e.g just recently I've been given a Retina II, an original Spotmatic, a Canon FTb and a YashicaMat 124G, all in pristine nick, working perfectly and producing great pics. Needless to say, I am a tremendous advocate of digital photography, if it encourages users to part with traditional goodies like these. Cheers Norm Fleming Matanle is British, and the American reader will note that there are differences in nomenclature, in the cameras and lenses that are readily available (many items common in Britain would never be seen here), and in practices and attitudes regarding using cameras and lenses. While it's good to be exposed to foreign viewpoints, we are two nations separated by an almost-common language sometimes. As a prime example, how could one cover "classic cameras" and not discuss Graflex? Simply put, although technically "large format" (at least in the most common 4x5 size, although there are smaller Graphics),no photographer's experience is complete without having used a Speed or Crown Graphic-handheld, with sheet film or a rollfilm back. Although most of the cameras available today would seem like alien implements to photographers of fifty years ago, the principles of photography have not changed, and in fact many of the best cameras-M Leica, Hasselblad, Rollei TLR (yes, still in production)-are substantially similar today as when Frank, Dean and Sammy were on the charts, Marilyn was still the hottest movie star, and John Glenn getting ready to orbit the Earth. Others are very different from anything made now, yet sometimes capable of very good work with a little knowledge, and more conducive to doing so than today's popular microprocesssor-controlled polycarbonate affairs which often simply get in the way of, rather than facilitate, good photography. In addition, a camera that's still working-or easily made so-after fifty years stands a good chance of working fifty years from now, which is almost certainly not true of some modern cameras. |
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