[EyeSpy]

Buy all of them! but from what I've learned. for daylight shooting overexpose or underexpose, use cheapest film you can buy (including expired film)and fog the lens with vaseline.

[kjfishman]

The Super Program is my favorite film camera. Unfortunately it finally broke after many years of service. The back won't stay latched, I suppose it could be fixed but I haven't shot film in 3 or 4 years so haven't taken it in for repair.

[GibbyTheMole]

If I were to buy a Pentax 35mm SLR, my preferences would be:

1) LX
2) MX
3) K1000 or Spotmatic

I've owned these film SLRs in the past:

Pentax K1000 (3 of these, one was an "SE" model)
Canon AE-1 Program
Olympus OM-2s Program
Minolta X-370n
Minolta SRT-101
Minolta SR-1s
Praktica MTL-3
Nikon F2s
Nikomat FT-2

(I might be forgetting a couple.)

My top faves of the bunch:

1) Nikon F2s (An unkillable tank & the king of 35mm SLRs, IMO.)
2) Nikomat FT-2 (If a Nikon F2 & Pentax K1000 had a baby it would grow up to be this camera.)
3) Olympus OM2s Program (A fantastic body with the best meter I've encountered on any camera until the circuit board went belly-up and was unreplaceable. I wouldn't buy another just for this reason.)
4) Pentax K1000 (Great, dependable little workhorse that takes great pictures. The only thing I never cared for on this camera was that the meter has no switch. Batteries seemed to last ok, though.)

[Macario]

The meter of the K1000 does have a switch, it is the lenscap. When it is on, it doesn't use any power (I know it is weird, but it works)

[GibbyTheMole]

The meter of the K1000 does have a switch, it is the lenscap. When it is on, it doesn't use any power (I know it is weird, but it works)

This is true. I guess I should have said a hardware switch. - Bob :-)

[stevebrot]

First shot in the series you linked (XA & Super Program back-to-back) cracked me up a bit—I just got a Super Program yesterday, and had staged that exact scene on my kitchen counter earlier today.

Indeed! The Super Program is small by SLR standards, but it dwarfs the XA.


Steve

BTW...I replaced the light seals in my XA a couple of days ago. Even with Jon Goodman's kit, it is an involved process that requires partial dis-assembly of the camera. Jon is such a good guy...he even includes a shutter release button in the kit knowing that you might as well replace it while you are in there.

[Timichango]

While I was travelling in Thailand in 2004 I opened up an XA—using dubious tools and a low-res copy of the service manual that I had managed to locate and download over a crappy internet cafe connection—in order to attempt to fix a metering issue. I was joyous when I managed to get it back together in one piece, in the same condition as when I opened it up.

I was even happier when it was stolen a few weeks later, and I replaced it with a fully functioning copy (with metric focal distance markings to boot—my first one was marked in imperial) That was the first camera I had ever opened up, and hadn't anticipated the awesome miniaturization and complexity at all.

I've since been inside of a few other cameras (the Auto S3 in particular, as well as a Nikon FM2n and a few SMC-A lenses) for tinkering and repair purposes, and I've always been generally comfortable with pulling things apart, but I've definitely got a huge amount of respect for just how considered and compact everything is inside of an XA. Good on ya for pulling one apart and getting it back together without incident

And thanks for the heads-up on Jon Goodman's seal kits—I'll definitely be ordering a few for some of the cameras in my stable that could use a bit of love in that department.

[PaulC]

What's the best Pentax film SLR to purchase - 2020 update?

Time has gone by, film cameras are getting older...but there is still something special about film photography that stops it from dying.

So I thought we should take a look again at this thread - what legacy film camera to recommend now in 2020.

With digital cameras now shooting rapid predictive Af at 8+ frames a second with 300 metering points and 24-48MP resolution and workable ISO to >3200 the only reason for film now is the joy of "slow photography". This is like "slow food" - taking time to compose and balance exposure/aperture/speed and lens perspective to give the best creative interpretation of the scene.

So what spec' do you need?
-- The camera mount needs to be sufficiently common to enable you to find a wide range of legacy "prime" lenses - ideally at low prices
-- The meter needs to be sensitive enough for low light metering
-- Shutter release needs either the ability to use cable-releases or self-timer delay.
-- The meter needs to be able to use easily available silver oxide batteries - (old mercury cell cameras are now a real problem unless they are voltage independent because of a "bridge-circuit" metering system).
-- Manual focusing needs a large view finder image with a bright pentaprism - not a dull penta-mirror light path.
-- Shutter speeds need to go to a second or more.
-- Manual film advance is a must - those motor winding plastic bodies cameras of the 1980s-90s put a lot of stress on old mechanics and plastic cog gear-trains, and that plastic gets brittle with age. Furthermore - many of the coverings on plastic bodied cameras are now deteriorating to a sticky "glue" - as seen in so many plastic film-era Nikons.
-- Since these film cameras are now pretty much uneconomic or just irrepairable when they break - put a strong consideration to the ability to afford and buy several of the same camera body so you have a back-up for the inevitable breakdowns in the years ahead.To me, the most fragile part of the system today is the camera body - for how many of us can find a proficient mechanical camera repair centre nearby, or afford to use it, and trust that they can source spares?
-- Lastly - Depth of Field preview is a must - film has no "live view" to predict how the range of focus will look nor the bokeh of out of focus highlights.

That latter "absolute" is the big divider - because DoF preview was usually reserved only for Pro-Spec cameras. Look at Nikons - you never got his on the amateur spec' EM, FG, FG20, F301, F501, F70s etc.....you have to shell out for an FM2, FE2 or F3, F4, F5.

To me the standout camera to get today is the Pentax P30;
It ticks all the boxes for slow photography with full control.
-- The viewfinder is bright and large.
-- The once frowned at plastic body cover is proving very durable
-- You cannot fit a motor drive - so the gear chains haven't been stressed at 3# a second
-- The metering works well on cheap silver oxide cells easily sourced today at 10 for a £/$/€.
-- And Yes - it has DoF preview !
-- It sold in millions so that even now - there is never a day on eBay when you can't get a P30 for the price of a Pizza Dinner.
And K-mount lenses sold in many more millions - meaning that you can afford to build a collection of lenses with different perspectives and characteristics.

The alternatives from Pentax, Nikon, Canon and Olympus with full control and DoF preview all cost a quantum leap more.
The plastic bodies AF models that followed the P30 near all lack one of the crucial controls needed for creative film photography....and who want's a motor drive for film photography today?

I have been able to build up, inexpensively, a range of K-lenses that cover the "essential 28mm, 50mm, 135mm, 200mm" primes and 3xP30 camera bodies that should ensure I will be using this system to the future until film runs out (or until I run out). Crucially I can afford to have a duplication of the "weak link" in the system with three idential working camera bodies to fall back on when they all eventually break.

A decade ago - the P30 was looked down on as a "low spec" budget cameras. Today - I think it is the stand-out legacy camera choice that ticks all the right boxes that is proving surprisingly durable.

How do others see the choice today?
If you wanted to experience film photography anew in 2020 - what spec's would you demand? ...and what camera would deliver them?

[peter.d]

-- Lastly - Depth of Field preview is a must - film has no "live view" to predict how the range of focus will look nor the bokeh of out of focus highlights.

I second this. I come from a digital background and never had a need for DoF preview button. It didn't do much on EOS 350D and 20D anyway However, on Pentax ME I really miss it. Its viewfinder, unlike the digital counterparts, is capable of showing the focus depth. I noticed if I release the lens and turn it in the mount a tiny bit it kind of mimics the DoF preview. Not an ideal solution though. I don't get it why they did not make a dedicated DoF buttons on these cameras. Technically, it shouldn't be a rocket science.

[TwoUptons]

I second this. I come from a digital background and never had a need for DoF preview button. It didn't do much on EOS 350D and 20D anyway However, on Pentax ME I really miss it. Its viewfinder, unlike the digital counterparts, is capable of showing the focus depth. I noticed if I release the lens and turn it in the mount a tiny bit it kind of mimics the DoF preview. Not an ideal solution though. I don't get it why they did not make a dedicated DoF buttons on these cameras. Technically, it shouldn't be a rocket science.

It was market differentiation.
If you wanted DoF preview, you could buy a KX, MX, LX, or Super Program, depending on the vintage.

Those were a step up from the K1000, MG, MV, ME, etc...

I like DoF preview, but I hardly use it.
I generally either shoot close to wide open, such that it wouldn't help, or close to hyperfocal, where it doesn't really matter...

But it's nice to have when it is there.

-Eric

[pres589]

DoF Preview on my film bodies doesn't tell me anything. The viewfinder goes all screwy and dark when I used it on my film bodies. My eyes don't tell me anything at that point.


I've never handled a Pentax LX. I would like one but I don't want to spend the money. The affordable alternative, to me, is the Chinon CE-4s and it's rebadge sister, the Revue AC3s. Nice LED readout from the light meter, 2 sec to 1/2000 sec shutter speeds, and you pick the ISO to meter to! I don't want DX coding to be the only way to tell the camera how to meter the film. Wonderful feel to the film winding lever, the shutter feels great, everything about these cameras feels like a top flight device. The viewfinder is nice to use (not quite MX nice but not that far off) and there's plenty of metal in the build. The worst thing I've heard about these is that they're not that serviceable. We'll see.

[johnha]

To me the standout camera to get today is the Pentax P30;

A decade ago - the P30 was looked down on as a "low spec" budget cameras. Today - I think it is the stand-out legacy camera choice that ticks all the right boxes that is proving surprisingly durable.

How do others see the choice today?
If you wanted to experience film photography anew in 2020 - what spec's would you demand? ...and what camera would deliver them?

I'd agree with a lot of the above, but there's a difference between the original P30 and P30n & P30T (which are possibly more plastic but offer Av). Meter lock is very rare in Pentax manual focus cameras but very handy. The reliance on DX coding isn't really an issue unless you're rolling your own in bulk.

My choice is the P50 - virtually the same camera with manual, Av, two programs and a top deck LCD with sleek lines. It takes a winder of motor but very few would have been used with one.

The Super-A is technically a better camera, but mine are struggling with electronic issues. Out of three, one works, one is flaky and the other shows no signs of life.

The problem with repairs, is the dwindling number of specialists and the supply of parts. However many Pentax 35mm SLRs are creeping up in price: ME Supers, MXs and even some clones like a Seagull DF300 hitting £100!

[nickthetasmaniac]

-- Since these film cameras are now pretty much uneconomic or just irrepairable when they break - put a strong consideration to the ability to afford and buy several of the same camera body so you have a back-up for the inevitable breakdowns in the years ahead.To me, the most fragile part of the system today is the camera body - for how many of us can find a proficient mechanical camera repair centre nearby, or afford to use it, and trust that they can source spares?

I'm puzzled by this comment. Probably three quarters of my film cameras have been serviced. It isn't expensive, it isn't difficult, and a well serviced, mechanical body will be good to go for years. I would much, much prefer to support camera technicians by having them service my mechanical bodies, than to buy a bunch of redundant plastic bodies expecting them to fail.

-- Lastly - Depth of Field preview is a must - film has no "live view" to predict how the range of focus will look nor the bokeh of out of focus highlights.

Meh. Most of my cameras have a DoF function, and I reckon I've used is less than a dozen times in the last decade. I can't say I've ever had a situation where I needed to use it...

A decade ago - the P30 was looked down on as a "low spec" budget cameras. Today - I think it is the stand-out legacy camera choice that ticks all the right boxes that is proving surprisingly durable.

How do others see the choice today?

Lol differently to you it would seem (which is fine)! My tactile response to a camera plays a hugs part in how much I enjoy using it, and I just can't get excited about plastic fantastics...

If you wanted to experience film photography anew in 2020 - what spec's would you demand?

- Mechanical
- Manual
- High quality haptic interface (the things you touch and feel and move)
- Quality viewfinder (SLR/RF/WLF either/or)
- Compact (the whole system)
- Pretty (subjective of course, but it must be pretty *to me*)
- The camera must be engaging to use, but should never impose itself on the shooting experience
- Home to a good lens system

...and what camera would deliver them?

The cameras I have! That's why I have them

Leica M2, Pentax MX, Pentax SV, Olympus OM1n...

[peter.d]

I would much, much prefer to support camera technicians by having them service my mechanical bodies, than to buy a bunch of redundant plastic bodies expecting them to fail.

Very well put. I would be more than happy to stretch this kind of approach to other stuff like cars, home appliances e.t.c.

[richard0170]

The P30 is a very good choice. I have never owned one but did borrow one back in the early 90's, and despite my sniffy opinion of its looks at the time it was very nice to use. An added plus is that in program mode you can use a DA lens, with variable amounts if vignetting of course.

I agree that one does not require winders and motor drives now for your film cameras as they just chew through the film stock too quickly, are generally very noisy and add a lot of bulk and weight, although my Contax 137MA has a beautiful built in winder which is not too intrusive in either noise or size, and when one needs fast continuous shooting a DSLr is much more cost effective.

There are several good value alternatives though to the P30. I particularly like the Fujica ST range of mechanical m42 mounts and Canon FT QL or FTb QL (a cheap adaptor can be bought to allow you to use LR44 cells). Both systems offer very reasonably priced glass too. Pentax KMs seem very reasonably priced at present and offer better value than the ever popular K1000