16 years ago…

In December 2000 I bought my first proper digital camera. It was an Olympus C3030Z. 3.1mp, 3x zoom. 4 AA batteries. At the time it was at the top end of the consumer camera market. You could get better – Kodak were making the first DSLRs – but they cost thousands of pounds.

I remember going to the local branch of Jessops and slipping on ice on the way. In putting my hand out to (unsuccessfully) stop myself falling, I cut it quite badly on the rough concrete of a wall. I was in the shop with a bloody tissue wrapped around my hand. I don’t remember how much I paid for the camera but for the next two years it slowly took over from film as I used it more and more. It was smaller than my film camera, it showed me what I had done with it straight away and once I’d paid for it, it cost nothing but batteries. I was no longer thinking in terms of 24 or 36 exposures (or with medium format, 12, 10 and 8). I didn’t need to bracket anymore as I could instantly check the results.

The downside, of course, was that the final image quality at the print stage wasn’t as good as film. But for what I was using it at the time, which was to illustrate a website, it was excellent. And when I did start printing images, I was able to get an A3 print from the best files, as long as I stuck to ISO 100 and used the Tiff file format.

The turning point was a trip to Scotland with a mate. With were both keen photographers and both had 35mm film cameras. But during the extended tour of the North West and the Western Isles in perfect photography weather, the C3030Z grew on me and I started to really appreciate the benefits of digital photography. Eventually, it replaced the 35mm SLR in my kitbag and nestled alongside my Mamiya 645 and lenses. I found that it was useful to test exposures before committing a medium format frame.

Inevitably, I decided to completely move to digital and I sold all my Pentax film gear, and the C3030Z, to buy a Fuji digital SLR. But that’s another story.

Last week, I spotted an Olympus C3030Z in the window of a local camera shop. It looked in excellent condition and yesterday, on a whim, I went and asked about it. It was old stock, so technically not even second hand. It came with the memory card (Smart Media – no longer manufactured) but the rest of the accessories were missing. I made an offer of £25, which was accepted and the camera was mine. They even threw in a set of batteries.

Like a kid with a new toy (I am a kid and it was a new toy, so no problem there) I was off taking snaps as soon as I left the camera shop. In some ways it was so familiar – the operation and settings menu came as second nature. In other ways, it was odd. I had forgotten how big it was, though this made it comfortable to use. I’d forgotten how big the Smart Media card was. Huge compared with today’s memory cards. It takes a long time to warm up after it’s been switched on, and the LCD screen is tiny. But it has an optical viewfinder with eyesight adjustment (which many modern cameras don’t have). I’d forgotten it has auto bracketing, which means I’ll be able to indulge in some HDR photography.

I’ve put some photos I took with my original C3030Z plus some taken with the ‘new’ one below. Now to find some long lost Smart Media cards…

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Back to the past

Like many, I learned the basics of photography before the digital age. Pause while I put on the sunglasses of nostalgia. With the glasses on, I remember the thrill of unpacking the film from its cardboard and plastic containers, fiddling to load the film without exposing too much leader, and hoping to squeeze an extra frame if I was using black and white, which I would later develop myself.

Only 36 shots on a roll, so I had to make every one count. Even so, with slide film I’d bracket either side of the measured exposure which would often result in only 12 unique photos from every roll. The film speed was given but we all had our favourite adjustments to get the results we wanted. Professionals would buy batches of film manufactured at the same time and expose one roll to test the proper settings for that batch. Colour print film had a wide exposure latitude, forgiving any minor errors in exposure (which is why wedding photographers used it). Slide film, and to a lesser extend black and white film, had to be accurately exposed or compensation applied at the processing stage. It had to be a consistent exposure variation for the whole film so we had to decide in advance. Many, including me, had two camera bodies loaded with different films just in case. My preference was for slide and black and white.

When I started, lenses were all manual focus. Film cameras had a great focusing screen with a split prism that made focusing easy in most situations. As my main interest was landscape, there was no need for lightning fast focusing. Part of the appeal for me was the slow, methodical approach and the actual taking of the photograph was almost secondary.

Then, once the snaps had been taken, there was the delay in seeing the results while the films went off for processing. Sometimes, if I was on holiday, I might have to wait up to two weeks to see the final prints or slides. Black and white film was slightly better as I’d process it myself and this could be done overnight. But then, all I’d have was tiny negatives until I printed off the images I wanted. I got good at assessing photographic potential from these tiny reversed images.

And here is where the nostalgia goggles start to leak reality.

I didn’t always develop the black and white films immediately after taking the photographs. Once I left college and the convenience of darkrooms set up and ready to go, I sometimes waited until I had two or three films to do. And then, I sometimes waited until I had more. It was all about the darkroom. At first, it was in my bedroom and had to be set up and put away every time I wanted to use it. And then I set it up in the garden shed and it was cold, damp and uncomfortable. So I started using less and less black and white, which was actually my favourite medium.

Slides came back from the processor in boxes and to view them properly I had to set up the projector. Which meant loading up the magazine in just the right way so that the projected images were the right way up and the right way around. It took time and was fiddly, so I got a smaller viewer for checking the results. And it was more convenient but no one else saw them.

The prints from print film stayed in their wallets and only occasionally got put in albums. I have some of those albums still on my bookshelf. They look impressive but I can’t remember what’s in them. I have sent for recycling more photos that I can remember.

One day, I bought a digital camera. The quality of the results weren’t the best but they were instant and that appealed to me. This meant I could retake the photo straight away rather than wait until I was next in the area. I could see the pictures on my computer and I could edit them without having to go out to the shed dressing in several layers of warm clothing. I didn’t have to breathe in chemicals and wait for the negatives to dry, all the while hoping no dust got on the wet film.

With the nostalgia goggles fully removed, I confess that I sold up all my film gear and went digital and never looked back. I have no regrets in doing this and I think it rekindled my interest in photography. I made the decision when I saw the results from a 6mp Fuji DSLR and for me, the moment when digital quality surpassed analogue quality was when I got my Nikon D300. Not only can I check the results (and for those who would never stoop to such crass activity are missing one of the main advantages of digital technology), but I can change film type and sensitivity without having to worry about rewinding a partially exposed film (and remembering where to wind it back on to afterwards). A modest memory card costs less than a roll of film plus processing and can be reused. Digital is just better.

So today, I picked up a CD with 36 images scanned onto it by the people that processed the film I dropped off to them about an hour earlier. I’d taken the photos on film that was at least four years out of date, on a camera made in the mid 70s using manual focus lenses probably made in the late 60s. And despite all I’ve said above, I enjoyed using the camera. I’d forgotten about the satisfying clunk as the mechanical shutter thumps down on it’s mounting and I’d forgotten about the big, bright viewfinder than made focusing a pleasure. The camera required me to translate the meter reading into aperture and shutter settings by interpreting three little red LEDs. I had to trust it was accurate but I also had to know roughly what to expect. And I found I did.

The images below are from that film. Some of the colours are odd and there’s a lot of grain. I suspect that’s a combination of out dated film and poor scanning from the shop. They were just test shots I took while out and about so they’re not masterpieces. But I have more film, some of which is new, and I’m sure there’ll be more posts about the old fashioned way of doing photography.

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