Canon T-50: The Amazing Canon FD SLR Point & Shoot Camera Part 2

blog by Michael Raso
When I read Brian Moore's guest blog on the Canon T50 camera my curiosity was piqued. I've been shooting with the Canon AE-1 Program camera since 1982 and since then, many other models using the Canon arsenal of FD lenses. I've simply ignored the 1983 T50 - mostly because the camera is completely automatic. I couldn't resist so I purchased not one but two T50 cameras on e-bay here in the states.



The manual focus Canon T50 is most likely the simplest camera in the FD arsenal. Program - Off - Battery Check are the only top controls. No "B" bulb, no PC flash input, no cable-release input. Turning the FD lens from "A" Automatic to f-stops switches the camera to 1/60th sec. This gives you the (limited choice) option of going manual and allowing the use of off-brand flashes.

The T50 is simplistic joy - allowing me to concentrate on my shots and leaving the exposure chores to the camera. As an all-manual photo guy - I must admit, it was difficult giving up the control of shutter and aperture, but the results were more than pleasing.

below: Canon T50 test shots - Butler, NJ USA









Canon designed the 244T flash specifically for use with the T50. While other flashes work just fine, the Canon 244T performed the best.
below: Canon T50 Flash Tests


Image using the Canon 177A Flash


Image using the Starblitz Pro-5000 GTZ-Twin flash


Image using the Canon 244T Flash

Film Photography Podcast listener and contributor Brian Moore's night photography using the T50 inspired me to venture out at night and try my luck at some night shots. Pretty pleasing results considering the T50 shutter is limited to a 2 second exposure.









Additional Canon T 50 shots in my T50 Flickr set:
http://www.flickr.com/photos/michaelraso/sets/72157625913470869/with/5460637628/

Canon T-50: The Amazing Canon FD SLR Point & Shoot Camera Part 1
by Brian Moore
http://michaelraso.blogspot.com/2011/01/canon-t-50-amazing-canon-fd-slr-point.html

Canon T50 Group on Flickr:
http://www.flickr.com/groups/1011582@N22/

I host the Film Photography Podcast
Launched in October of 2009, the Film Photography Podcast is a 90 minute, bi-weekly Internet radio program, exploring a wide range of topics relevant to the experienced and aspiring photographer using film as a medium. Hosts Michael Raso and Duane Polcou enthusiastically dissect and debate the pros-and-cons of film formats, do-it-yourself techniques, digital technologies, and vintage and contemporary cameras and accessories in a thorough, informative and casual manner. Regular features include Camera tests and reviews, “book of the month”, interviews, a listener-generated Q&A, and film-related giveaways.

Produced in the United States, the Film Photography Podcast is broadcast around the globe via iTunes and direct stream from http://www.filmphotographypodcast.com

Canon T-50: The Amazing Canon FD SLR Point & Shoot Camera

Guest blog by Brian Moore

I’ve enjoyed 35mm point & shoot cameras since the day in the early 80’s when I picked up a Pentax 35AF. It fit fairly nicely in the pocket…not too bulky, it was solid, took decent pictures, had automatic exposure for film up to ASA 400, and came with a built-in flash. I used it constantly for a while, until one day it fell out of my coat pocket and landed with a sickening clatter on the concrete outside the Bonaventure Hotel in Los Angeles.

That was that.

Cameras have come and gone since then, including the occasional point & shoot and even a replacement for my Pentax 35AF.

(But I dropped that one too one day, and that was that.)

I currently covet an Olympus XA, though I haven’t been able to score one on E-bay at my price point. (Call me cheap if you want, but some things go for crazy money on the bay.) In the meantime, I’ve discovered a point & shoot whose charms have so stricken me that it’s now my main squeeze: the Canon T50!



Released in March of 1983, the T50 was the first of Canon’s T-series, which achieved its apex with the highly regarded T90.

The T50 is rather a small SLR with a plastic body, auto exposure, auto film advance, a hot shoe and a self-timer, and it will accept film speeds ranging from ASA 25 to 1600.

Canon designed the T50 to be a beginner’s SLR. All the photographer need do is focus and shoot, and when finished with the roll rewind it in the conventional way. But if you’re a beginner who actually wants to learn photography through manipulation of the camera’s functions, the T50 isn’t for you, since it lacks manual over rides for exposure settings.

But if all you need is a second body for your Canon FD system, or a low-cost camera to sling over your shoulder and be at the ready to provide some excellent images, the T50 could be an excellent choice.

Two AA batteries are all the power you need for up to 75 rolls of 24 exposure film. (Or 50 rolls of 36 exposure.) And although by modern standards its firing rate of 1.4 frames per second may seem a snail-like pace, just remember it’s a cheap 1983-point & shoot.



The real beauty of the T50, though: It takes FD lenses! Yes, all that beautiful Canon FD glass you used on your AE-1 will fit on the T50. Just connect the FD lens of your choice, set it to “A” on the aperture ring, and your T50 is ready to point & shoot.





Your images will be as sharp as any other manual focus Canon, and the auto exposure system is flexible enough to make low light shooting not only possible but simple and quite delightful. Put the camera on a tripod or steady it in some other fashion and you may be surprised by the results you get.

Despite its relatively small size, it’s still way too big to fit in a pocket, unless you’re name is Harpo Marx.

All images © Brian Moore

Links to Canon T50 pages on the web

The T-50 - Index Page
http://www.mir.com.my/rb/photography/companies/canon/fdresources/SLRs/t50/index.htm

Canon T-50 on the Wikipedia
http://en.wikipedia.org/wiki/Canon_T50

How to Use a Canon T50 35mm Camera
http://www.wikihow.com/Use-a-Canon-T50-35mm-Camera

Brian Moore is a listener and regular contributor to the Film Photography Podcast
Brian Moore on Flickr

About The Film Photography Podcast
Launched in October of 2009, the Film Photography Podcast is a 90 minute, bi-weekly Internet radio program, exploring a wide range of topics relevant to the experienced and aspiring photographer using film as a medium. Hosts Michael Raso and Duane Polcou enthusiastically dissect and debate the pros-and-cons of film formats, do-it-yourself techniques, digital technologies, and vintage and contemporary cameras and accessories in a thorough, informative and casual manner. Regular features include Camera tests and reviews, “book of the month”, interviews, a listener-generated Q&A, and film-related giveaways.

Produced in the United States, the Film Photography Podcast is broadcast around the globe via iTunes and direct stream from http://www.filmphotographypodcast.com

NEW Old Film Project and other stuff

"Old Film Project" on Flickr.com



When Flickr member Daniel Whitman found 400 rolls of dated black & white film he decided to start a community group called Old Film Project and give the film away!

Flickr members from around the world joined the group and received 8 rolls of the old film free of charge - under the condition that they will shoot the film as part of groups projects and themes.

I joined in September 2009. I saw it as a unique and fun opportunity to create some great images (I hope) and interact with other photographers around the world.

The film is Kodak and Efke brand and expired anywhere from 1975 to 1981. Very old, indeed.

The "Old Film Project" can be found at:
www.flickr.com/groups/1173298@N20/

Pictured above:
Yashica 35-ME Camera
EFKE KB21 B&W Film (expired 1977)
Image shot 9/15/2009
with Canon AE-1 Program
Fujicolor Superia X-Tra 400 Color Print Film



42nd Street Pete and filmmaker Carter Stevens visited the studio last week to record a DVD commentary track for the upcoming release of Carter's 1980 film "Wicked Schoolgirls."
Perfect photo op to shoot with my Canon AE-1.

Image above shot with
Kodak Porta 160vc (expired 12/2008).
Canon AE-1.
Canon 50mm Lens.
Canon 199A Flash.



Above: Self portrait using my
Canon AE-1 on a tripod (24mm Canon FD lens).

I used "dollar store" film called Memories.

It's a 200asa color print film and yields quite a bit of grain. I removed the color electronically using Photoshop 7 for Windows XP.



The "Memories" film was so inexpensive that I purchased 90 rolls. The film currently resides in my freezer.

Kiron Konclusion / Sears Big Zoom at Film Premiere

After complaining about quality issues with my Kiron 28 – 210mm Super Zoom (for Canon FD) in previous blog postings, I decided to look through my photo notes and find additional shots using the lens. Fellow Kiron lens user Chuck Norcutt pointed out in an e-mail to me that perhaps I was being a bit harsh on the lens considering its usage in a dark environment (also previous posts).



Well, "The proof of the pudding is the eating" as the age-old expression goes. Most of the images I shot with the Kiron lens have some focus issue, leading to my final opinion that this particular lens is faulty. I purchased this lens used from e-bay and although the auction description described the lens as “in awesome shape, “ I have no way of knowing its past history.

So, to be perfectly fair to myself (and the Kiron using community) I’m going to purchase another in the near future.



This past Wednesday I received an invite to screen Pete Jacelone’s independent horror flick “Sculpture.” A cast Q&A followed the screening, so I brought along a small bag. In it was my Canon AE-1, Canon 199A flash and the Sears 60 – 300mm FD lens. Recently purchased on e-bay, I thought it time to give the lens a test.



Size and weight aside, the lens was pretty easy to handle and focus. I was thankful that the theater (Multi Media Arts Center, Bloomfield, NJ) had stage lights to illuminate the folks on-stage. Overall, very pleased with the results.

The 60 – 300mm is available often on e-bay and usually goes for about $30.us.

More shots can be seen at:
http://www.flickr.com/photos/newyorkgrindhouse/sets/72157621843716079/

Super Zoom is Ka-Boom! Part II

Imagine my surprise when I receive an e-mail regarding my July 20, 2009 blog (Super Zoom is Ka-Boom - http://michaelraso.blogspot.com/2009/07/super-zoom-is-ka-boom.html ). I spend a fair amount of my spare time shooting film photography. When I’m not shooting, I’m usually talking about or promoting the whole “Shoot Film” idea to friends or colleagues ad nauseam.



Apparently my negative experience with the Kiron 28 – 210mm lens (for Canon FD) touched a nerve with a group of Kiron fans. I received the following letter from Chuck Norcutt ( published here with his kind permission ) :

7/21/2009 via e-mail
Hi, Michael
Your negative blog post on the Kiron 28-210 "super-zoom"
( http://michaelraso.blogspot.com/2009/07/super-zoom-is-ka-boom.htm )
has been mentioned on the Yahoo group "Kiron-Klub" and has raised some
eyebrows amongst this group of Kiron lens aficionados.

First, I'd like to state that there is no confusion about who produced
this 28-210 lens and all Kiron lenses. Kiron was a subsidiary of the
Japanese company, Kino Precision Industries. Kino had long been a
supplier to Vivitar (including Vivitar Series 1 lenses) but wanted to
produce their own line of lenses. They established the Kiron
Corporation in 1978/79 as a subsidiary in Carson, CA to market the brand
in the U.S. The first lenses went on sale in 1980. Unlike Vivitar,
Kiron did not produce a range of different qualities and prices. All
Kiron lenses were fairly expensive and, like Vivitar Series 1 lenses,
the highest quality that they could produce given the technology of the
time. They are generally regarded as equal to or better than the camera
manufacturer's own and the test results in Modern Photography magazine
will bear that out. Many of these lenses are still highly sought after
and especially the 105mm f/2.8 1:1 macro which, even 25 years later, is
about as good as they come.

Now, with respect to the 28-210 "super-zoom" it's not clear to me from
your mini review why you've chosen to consider it a bust. Unless your
particular lens is defective or damaged in some way it should exhibit
outstanding performance... for what it is. It is designed to be a
walk-around, all purpose lens. It comprises the unheard of (for the
time) an amazing 7.5:1 zoom range. Such a lens must necessarily exhibit
some performance comprises. These come in the way of weight, limited
speed and optical performance. But what is most amazing is that the
Kiron 28-210 actually gives away very little in the performance
department. If you check the Modern Photography resolution test results
reported by Robert Monaghan: ( http://www.mflenses.com/content/view/55/ )
you will see that the 28-210 equals or exceeds the resolution of high
quality prime lenses at 105 and 200mm and still compares favorably at 28mm.

But your mini-review doesn't talk about the lens's optical performance.
I don't think it could since your sample images are in no way a test
of that. It just calls your experience with it a bust. And I think I
would agree with you if, as you did, I used it to shoot a nightclub
performance. It is heavy and it is slow. I'm sure that, at f/4-5.6 it
was no joy to focus in low light. In the same venue I'd have probably
taken my Tokina 28-80/2.8 or perhaps a trio of fast primes. In my
opinion you have simply misjudged the lens by using it in the wrong
place. The 28-210 is in its element as a daylight walk-around lens.
Heavy as it is, its purpose is to allow you to travel light by leaving
a whole stable of prime lenses, an extension tube and a big camera bag
behind. Daylight will overcome its relative slowness for focusing and
allow shooting at middle apertures for best performance. So don't just
park it on the shelf for a year. Take it out again but during a
daylight outing where you want to travel "light".

ps: I'm having some difficulty interpreting your shot of "Dirty
Blondes". You say you used your Canon FTb with the Canon 177a flash
unit. The 177a is a rather petite and low power shoe mounted flash.
Yet the flash shadow is not from an on-camera flash. The shadows are
not behind the subject but displaced well to the right, which would
require a flash well off-camera to the left. I'm just curious. How did
you do that?

Chuck Norcutt
Endwell, NY



7/21/2009
Chuck,

Thank you for your e-mail.

It a digital world, it is nice to know that I am not the "Last Man on Earth" shooting film with manual focus lenses.

Firstly, I would like permission to re-print your letter. I would like to do a follow-up to my blog. Your letter would be a nice inclusion. I really appreciate the technical information and it would be a nice way to plug your Yahoo group. I didn't know about the "Kiron-Klub" on Yahoo. Considering my blog, do you think that I would be allowed to join the group?

My blog is about film photography and my personal experiences related to the hardware used. After reading your letter, I agree with you about my choice of lens for the evening. I really didn't know what to expect at the club. Lighting, distance to the band was all a mystery. The Kiron seemed like a good choice at the time. It was a chore to use in the dim light. I will take your advice by not "parking" the lens and taking the lens on a day trip in the near future.

Lisa Keane of "Dirty Blondes" was shot vertical. That is the only way I can explain the displacement of the shadow.

Again, thanks for the letter. I really hope I didn't piss anyone off. Was not my intention!

Best,

Michael Raso




After sending my response to chuck, I realized that I shot exteriors in New York City using the Kiron on July 4th. It slipped my mind because I shot Kodachrome and have yet to review and scan the slides. I’ll make good on my promise and will post the results soon. In the meantime (if you’re a Kiron user), check out the Kiron Yahoo Group - http://groups.yahoo.com/group/Kiron-Klub/

Super Zoom is Ka-Boom!

My first and (to date) only photograph of fireworks is a summary of the lens that shot it – unspectacular. The lens is a Kiron 28 – 210mm manual focus f 4.5 – f32 with an FD mount for Canon SLR cameras. Can a lens manufactured in the 1980s with such a dreamy choice of focal lengths be as fantastic as you want it to be?



I tend to be a bit romantic about older camera gear – only to find that the “too good to be true” lens really is. Commonly referred to as the Kiron “super zoom,” information on this third party lens for Canon has become scarce. Various postings on Photo.net and elsewhere speculate which company manufactured this lens and user reviews range from good to poor.





I really wanted this lens to be good, so I took it for a spin to shoot “Dirty Blondes” playing a music gig in Wayne, New Jersey this past Saturday. I used my 1973 Canon FTb body with the Canon 177a flash. Film of choice was Fujicolor Superia X-Tra 400 print film. The fireworks were unexpected, the band was great but in the end, The Kiron 28 – 210mm lens was just no fun.

Now a paperweight on my shelf, I’m sure that I will re-visit it in a year or two saying to myself – “It couldn’t have been that bad!”

Pictured:
Fireworks at Packanack Lake, Wayne, NJ - July 18, 2009

The Canon FTb wearing the Kiron Super Zoom

The fabulous Lisa Keane of the "Dirty Blondes"
www.dirtyblondesrocknroll.com/Home.htm

Frisky's Fifteen Minutes of Fame

I’ve decided this year to devote quite a bit of my spare time to the digital scanning of all of my photos. I started photography as a hobby sometime in 1977 – so it’s conceivable that my one-year commitment may reach far beyond 2009. That combined with my frenzied picture taking as of late – has meant that so far – I’ve spent every free moment either scanning, snapping or uploading to Flickr.com. No complaints here. It has been great fun and I’ve met lots of new cyber pals on the Flickr site. My renewed hobby has certainly jarred and opened many memories that were long forgotten.

Take Frisky, for instance. A very nice cat and one of many pets that I rescued or gave a home to during the 1990s. Frisky is better known as “The FBI Guys Cat” as he was found and made part of the cast for a comedy show that I was involved with at the time. The year was 1991. I had been producing a regional cable show in New Jersey since 1988. The show (called Meadowlands Showcase) played on free TV in the New York tri-state area. I was employed at Comcast Cable and my job gave me the flex of working with a “co-op” of other cable systems. Seven or eight different cable companies made up the core channel know as The Cable Television Network of New Jersey (or CTN as it was called). I was a member of their Cultural Sub-Committee. So, in my off hours at my job, I (and a core group of volunteers) produced Meadowlands Showcase. A monthly show featuring local bands, short films and original comedy sketches that we produced. “The FBI Guys” was one such sketch. For Episode 1, the script called for the casting of a cat. My house was home for many cats at that time in my life. For whatever reason, I didn’t use one of my own feline friends so, fellow FBI Guy and show creator, Paul Darrigo decided he’d find the cat for the role.

The night was dreary and rainy. Paul was driving on Rte. 3 in Secaucus, New Jersey – on the desolate and filthy shoulder of the road was a small cat – wet and shaking in fright. Paul pulled over, grabbed the scared animal and brought him home. I first met the kitty when he was brought to the Lyndhurst studio facility for one of the shoots. After all the video shooting was completed, Paul announced that he couldn’t keep the cat. As I had said – I already owned quite a few cats – so I just brought him home – to my house in Northern New Jersey. Fifteen minutes of fame and a guaranteed shelter for life.

I no longer live in that same house but I did find Frisky a good home. With the recent discovery of the photo and video clip, I made a phone call to check up on him. He’s doing quite well, living his December years with love and comfort.