My parents, who so generously got me the Yashica 635, arrived at my house last week with two more vintage beauties for me. This Konica C35 was purchased at the same time as my Yashica.
I know next to nothing about this camera but am excited to play around with it. The other camera came from my Mom’s cedar chest. It was her camera back in the day….a Polaroid Land Camera Automatic 103
This one I am familiar with. It’s the relative of another Polaroid Land Camera that I own, the 220, and just like my 220 (which I affectionately refer to as Aunt Bertha’s camera because it came with EVERYTHING in the case, including a little lace hankie, and smelled like the top of a moth-ball-filled closet), it included the case, manual and a flash unit. Once I get a battery for it I’m going to give it a try. I’m hoping the roller functions better than the 220 so I don’t get gluey rollers half way through my film pack. What a pain it is to clean.
I’m still waiting for my first Yashica roll to come back from the developers. I took it out last week on a foggy morning as we took the kids and dog for a walk in the woods. I’m hoping for some moody, misty shots. Until then, I will share some iPhone photos I took while at the Philadelphia Museum of Art.
Curators are masters of using light to highlight the best parts of an exhibit. Whether the lighting is very low, casting gorgeous shadows on the walls, or warm and inviting, everything is beautiful and begging to be captured by an intrepid photographer. Whenever I visit a museum I treat it as a workshop in lighting. I push myself and try new techniques to see how my camera best responds. This first shot was taken through my Holga Lens Turret’s blue filter.
This last shot was in the cafeteria. I used the Salvadore 84 lens on all the pictures that look doubly exposed.
Museums are also great places to test out your camera’s macro abilities. The iPhone is phenomenal at close up shots and even better with the Holga Lens Turret’s macro lens.
The rest of these pictures are taken without the macro lens.