Saturday, July 18, 2026

The Marvelous 7s

My Minolta Hi-Matic 7s was the last great thrift store. bargain in my collection of old film cameras; I got it about five years ago for less than what it now costs for a single roll of film.  It came with a case and a lens cover, and it works like new.  The 1.8/45mm Rokker lens is superb and the CLC metering system achieves perfect exposures under any lighting condition.   I especially like the auto-parallax correction which is a big aid to precise framing.

Like many of the mid-'60s cameras, the 7s meter wanted a 1.35V mercury battery.  That battery is no longer available, but a 1.5V battery has always worked well for me, though it does make a better fit in the compartment if you add a rubber O-ring and top it with a small pad of aluminum foil for good contact.  All of the camera's many features are well documented in the 7s manual at the Butkus site.

The 7s is particularly well suited to street work because of its quiet shutter and reliable performance.  The camera hangs nicely from the neck strap, and on a sunny day you can select a small aperture for maximum depth of focus and shoot from the hip with abandon.  On a sunny Friday stroll through Old Town Albuquerque I finished off a roll of Kentmere 400 in about twenty minutes.

 

 





Thursday, July 09, 2026

Tree Life

An essay about trees in the July newsletter of the ABQ Photography Gallery got me thinking about how much of my own photography in the last twenty-five years has focused on trees and how that interest developed over a lifetime.

The first trees I remember well were a couple Dougls Firs in the front yard of my grandparents house in West Seattle where I spent much of my childhood. I climbed in them and played underneath their branches with my toy soldiers.  The house and the two trees were still there the last time the Google street mapping vehicle passed by, perhaps a dozen years ago.  I was surprised in looking at that picture that they looked much as I remembered them; they seemed healthy, but not bigger than they were in my memory, though they may have already been fifty years of age back then.

As I grew toward adulthood in the Northwest I was surrounded by trees, but no individual one lodged itself firmly in my memory.  It was not until many years later that I developed another brief but close relationship with some eucalyptus trees on San Bruno Mountain south of San Francisco. A desire to get a close-up look at a nest of young Red-tailed Hawks prompted me to don a pair of climbing irons to get me the fifty or sixty feet up to the nest.

Though I liked San Francisco. city life there grew uncomfortable in the mid-1970s, so we headed northeast in a Ford Econoline van with two kids, a dog, a hawk and a friend, ending up in Southern Idaho.  We lived for a time in the small town of Glenns Ferry, and then found an old dairy farm house in the countryside with a row of big mulberry trees in front that were well watered by an irrigation ditch. I recall Margaret making some good pies with a combination of the mulberries and gooseberries which grew in our back yard. The landlord decided, for a reason I don't recall, to cut down the mulberry trees.  A good portion of them were burned in the wood stove in our kitchen.

In rural Idaho our kids had the advantage of a mostly rewarding small town experience.  I appreciated the opportunity to reclaim some of my family's Idaho history and learned a lot about hunting and fishing. However, a series of low paid jobs and little prospect of anything better made a continued life in Idaho seem untenable.  

Margaret found an escape hatch in the form of a scholarship to get her Master's in Social Work at Eastern Washington University.  So we spent the next two years living in a trailer in the scabland woods outside of Cheney. I worked for the welfare department in Spokane for the duration.  The last winter in Cheney featured a hundred days of snow on the ground.  I was ready for some sun.

We piled the kids, the dog and a cat into the back of a little Chevy Love pickup and headed southwest, ending up finally in Las Cruces, New Mexico.  We both got reasonably good jobs and were able eventually to buy an adobe house in a remote desert location twenty miles north of Las Cruces. On our five acres the most common trees were mesquites.  They provided a little shade and the horses really liked the mesquite beans.

Partly due to health issues we decided after about ten years that living in that beautiful but remote location was no longer a good idea. A move north to Albuquerque offered more accessible medical care along with the possibility of living close to our daughter.  We managed to sell our desert home just before the big housing crash, and ultimately bought another near Albuquerque's Old Town where we live now.

We have four trees on our little corner property.  The fastest growing is a volunteer locust that popped up in the yard in just the right place.  The other three we planted -- a sturdy red oak by the sidewalk in front of the house, a redbud by the south sidewalk, and a desert willow beside our bedroom window that is beloved by us, as well as bumblebees and hummingbirds attracted by the copious flowers. I like the desert willow particularly because it reminds me of ones I used to find often in desert arroyos down south.  Those trees were often accompanied by clumps of Desert Four O'clock flowers, so I planted some as a companion for our willow, and they bloom every day all summer.

My favorite photographs of trees made since we moved to Albuquerque are in a Flickr Album.

Saturday, July 04, 2026

Another Paper Negative

  I have made images of these two howitzers in Albuquerque's Plaza Vieja with several of my old cameras.  This picture is from the Bob Eggers pinhole camera loaded with enlarging paper.  The pinhole is the sharpest I have ever come across.  

Unfortunately, I can't seem to adapt my vision to the ultra-wide view produced by the short distance from the pinhole to the film plane, so I have had to crop the image a bit to get closer to what I was intending.  I may go back with my last film holder to see if I can do better with the framing.

The exposure of the paper in the. camera was. 1.5 minutes.  Processing was in HC-110b.  

* * * 

While. watching the weekly episode of New Mexico In Focus on Youtube I noticed over in the right column of the screen that there was a video about paper negatives using an old Kodak folding camera.  Of course, I had to watch it.

The presenter, Borut Peterlin, is an entertaining guy who seems to be quite a competent photographer.  He starts out with some useful information about what kind of enlarging paper he likes and points out that film developer performs better in making paper negatives because paper developer tends to produce images that are too contrasty.

Much of the rest of the presentation was rather general, providing information applicable to standard photography techniques rather than specifically to paper.  I suppose that is useful to someone who has not done much actual darkroom work.  For those with more experience, if you know what a good negative or positive looks like there will be little problem in recognizing those desirable qualities in paper negatives,  including appropriate contrast and good detail in both shadows and highlights.

One  important factor which was omitted in the presentation. was the brief pre-flashing of the paper which seems a pretty standard step by most paper negative producers. 

Peterlin's demonstration used a camera with a lens rather than a pinhole.  That meant that he had a lot more latitude in the kind of scenes that he could easily shoot.  His full-sun shots could be accomplished with an exposure of a couple of seconds, which meant that open shade shots would be possible with around a ten to twenty second exposure.  Shooting with a pinhole on paper under those conditions requires thirty to sixty times more exposure. 

Peterlin "scanned" his. paper negatives by hand-holding a digital camera and illuminating the negative with an. overhead light, the same as me.  His end results were quite comparable  to results one would get from shooting on film.