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Inside Street Photography
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The official newsletter of Street Photography Magazine
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What about a ½ frame camera?
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Earlier this summer I was surprised to learn that Ricoh Imaging Company, LTD was launching a 35mm ½ frame camera - the PENTAX 17 Fixed-Focal length compact film camera. Ricoh noted that “In addition to the distinctive image quality created only by a film camera, this new model provides users with the fun and excitement of manual camera operation unique to film photography, such as manual film winding using the film advance lever, and manual focus-range setting with the zone-focus system.” For one of the most thorough and enjoyable equipment reviews I have ever read, please take a look at Paul McKay’s June 19, 2024 post on ANALOGUE WONDERLAND: https://analoguewonderland.co.uk/blogs/film-photography-blog/pentax-17-camera-review?srsltid=AfmBOorfBmAV10P79wlIo-F5BKha3NFVfH6H50_IBVQ0PpEJ2Vy-wjeZ I’ve used 1/2 frame cameras since the late 1970’s, and have found them useful for a variety of reasons. First and foremost, there are 72 frames instead of 36 to shoot on a roll of 35mm film. My first ½ frame camera was an OLYMPUS-PEN EE-2. It was very light and fit into my pants pocket so I often brought it with me as a second or “not serious” camera when I was out photographing. It had a fixed focusing lens system and an accurate automatic exposure system,
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| Olympus Pen EE-2 manual |
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Because the camera’s negative was ½ the size of a standard 35mm negative, and I usually shot with Tri-X 400 film, I did not make prints larger than 11x14 inches. 8 x10 inch prints like the one below are quite sharp, without grain.
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| King Neptune with trident after the Mermaid Parade, Coney Island, 1996 |
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(N.B. Scanning 35mm negatives removes much of the size/grain issues in darkroom printing.) When its built-in light meter stopped working after several years, I foolishly threw out my EE-2. At the time I did not understand that the camera’s light meter was powered by a selenium cell located behind the honeycombed glass around the camera lens. Daniel Schneider, a freelance documentary photographer and new media journalist based in Denver, explains this very well:
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The first thing people remark on is the honeycomb matrix encircling the lens. The “EE” stands for “Electric Eye,” and the “Matic” indicates the automatic exposure made possible by the selenium cells behind that glass. The matrix of convex “bubbles” directs light at the selenium cell or cells in a predictable way, both in terms of amount and direction. This ensures that the light being measured is actually coming from the direction of the subject, and helps ensure that the light being sampled is a consistent fraction of the light available so it can be accurately be measured every time. Selenium, a key component in solar panels, is photovoltaic — meaning when it is exposed to light, “electrons are knocked loose from the atoms,” (NASA’s words, not mine) producing an electrical current. The current is tiny, but measurable, and is consistent for a given amount of light. What’s cool about this is that selenium light meters don’t need batteries to operate. Eventually the selenium cell wears out — essentially there is a predetermined number of photons a given amount of selenium can absorb and convert into electric current before it ceases to function — but that can be a very long time if you keep the meter matrix covered when not in use.
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| Daniel Schneider |
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Eventually, I bought another ½ frame camera - with a battery powered light meter this time! My KONICA AA-35 is smaller than my cellphone and works similarly to the PEN EE-2
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| My Konica AA-35 |
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Another great feature of the ½ frame camera is its ease in creating a series of images. If you photograph with a sequence in mind, you can create triptychs, quadriptychs (below) and other multi-paneled images in the camera. (Added bonus - knowing words like these will impress your friends who consider painting a higher art form than photography.)
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| Street photographer processing my Polaroid photo, Park Slope, 1980 |
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In the past, I had to use a 4x5 enlarger to create pentaptychs like this one. It’s much easier now with my scanner.
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| Funeral, South Brooklyn, 1981 |
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In 1992, I witnessed a very sweet interaction at the Brooklyn Botanic Garden. I saw young man handing his camera to another visitor who evidently had agreed to photograph the man and his family. The willing photographer knelt down, shot a few frames of the posing family, and returned the camera to its owner.
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| Luckily, I had my ½ frame Konica with me. |
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PS: As I prepared this post, I checked online and found many used ½ frame cameras for sale. Just saying.
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| Larry’s portrait by Anna Delaney |
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hen I returned to South Brooklyn in 1970 after two years in California as a VISTA Volunteer, I was 22 years old with no plans and a $30 camera I barely knew how to use. I took a course at the School of Visual Arts, a job with the telephone company and began to photograph my family and friends. Things worked out better than I could have expected. I’ve been making photographs for over 50 years, and have some things I’d like to share.
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Readers can respond directly to me – larryracioppo@gmail.com.
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