Despite having the latest technology available to me through my micro-four thirds cameras, and having chosen from a company that espouses the use of multimedia creation, I am not much of a video maker. I prefer still photography and leave my 4K-enabled video features on my Panasonic GX-8 largely unexplored to date. However, serendipity being what is is, I had just read an interesting book with the lengthy title Pictures, Pop Bottles and Pills: Kodak Electronics Technology That Made a Better World But Didn’t Save the Day by K. Bradley Paxton on the history of Kodak and its demise and was therefore surprised to learn this week that the company is to launch a “new” version of its famed Super8 system.
The original Super8 camera was the the mainstay of capturing those family events throughout the 60’s and beyond, until it was superseded by the convenience of home video cameras, which in turn were replaced by digital cameras, so what are Kodak up to?
A quick look through the Kodak blurb on their website provides some useful specifications, but in summary the camera will use 50 ft (15m) of 8mm film at speeds of 9-25 fps. Each film fits 72 frames per foot, which purportedly provides 3600 frames per film cartridge* (2.5 minutes of filming). The camera uses a manual focus, fixed 6mm 1:1.2 Ricoh C-mount lens (optional 8-48mm zoom), but with a 3.5cm LCD TFT tiltable viewfinder.
It all sounds like an interesting mix of retro and modern but to the $64,000 question: will it sell?
Personally, I don’t mind retro styling, as I stated in my Recesky post, and my kids all use their Fuji instax cameras to produce instantly gratifying (to them, at least) images for them to share so I think there is definitely a market for retro styling and products that are marketed to capitalize on a sense of nostalgia in an era of relentless progress. Kodak are also touting the fact that some big name directors, such as Spielberg and Abrams praise the use of film over digital capture for developing technique, but I see the main issues here are two-fold:
With a proposed price of $400 – $700 for the camera and at $75 for a 2-3 minute film, this really is quite a luxury niche product; and
Can today’s consumer, with a need for instant gratification, really wait a couple of weeks to get their (pricey) Super8 film processed?
The second point is a paradox that Kodak seems to be happy to test: perhaps the lost pleasure of anticipation though a prolonged wait to see the final creation will drive a new dawn of creativity. Who knows? Maybe we’ll see a whole new generation of editors sat at splicing desks?
In the end only time will tell whether the big K will get another “Kodak Moment”
Don’t get me wrong, I’m not some type of Luddite or traditionalist harping on about the good old days of film photography and how everyone now thinks they’re a fine art photographer just because they own an iPhone; I am as much a geek as many other photographers, with my main choice of hardware being my trusty Panasonic GX-1 with the “new-fangled” m43 format rather than the more usual DSLR. That being said, I was fascinated to stumble across the Recesky TLR camera that could be built in a couple of hours and use widely available 35mm film – for about $20.
I had dabbled with a Holga using black and white 110-film over the last couple of years, learning with my daughter as she went through her photography classes at school, and maybe that helped pique my interest to temporarily put away the Panny, turn off the laptop and go back to real basics. Additionally, with the use of widely available 35mm color film which could be processed cheaply locally, this opened up a lot of creative possibilities using the quirky plastic lens system with its quirky vignetting effect.
There is quite a lot of information available on the internet regarding the Recesky camera, and its more up-market, but similar version, the Gakkenflex, some of which can be off putting to the reader since it over dramatizes the complexity of the task at hand. In reality the whole exercise of building the camera took me only a couple of quiet hours and is very straightforward providing you do your preparation work, read all instructions carefully and, most importantly, take your time.
Sourcing the camera kit is easy – just type Recesky into Amazon or eBay and you will find several sellers. You should be able to get this for $20 or less including shipping. The kit comes in a styrofoam box and you should be very careful about unpacking this and making sure all parts are present, as some are very small, easily lost and not replaceable. My kit only had instructions in Chinese so I printed out English instructions on the internet and read a few “diy” blogs (see below) before I started. One thing I recommend is that you dedicate a couple of quiet hours to this as you don’t want to be disturbed when fiddling with small plastic components and springs and you certainly don’t want your part-completed kit sent flying by children or pets.
Construction is fairly straightforward, once you relax into it and realise that you may have to do, undo and redo pieces a few times to get it right. The main thing to remember is to not force anything and, if you are unsure, to refer not only to the instructions but to the growing number of youtube videos available. The most difficult part is putting together the shutter release mechanism. It is quite surprising how a couple of cheap springs, a pinhole and and a plastic flap can make a fairly reliable shutter.
Once all the parts are together the Recesky is fairly robust, for a cheap plastic camera, with the exception of the flip up viewfinder mechanism which seems to fall apart quite easily until you work out how to open it carefully. This does not affect the camera’s operation though, since if the 4 parts detach they can just be snapped into place, but it did frustrate me to start with.
Loading a 35mm film (ISO 400 recommended, but it’s not critical) is easy, although, as with Holga cameras, you have to experiment a little with your particular build in order to get the the film tension correct to ensure it flat on the focal plane, but it’s not totally critical. I added a small piece of card from the film box between the end of the film spool and the camera body to make the film fit more tightly and increase the film tension. Close up the back and you are ready for action with your half-sized, fake Rolleiflex.
The first thing to notice on the outside of the camera is that there is no film counter. Instead the take up spool has an arrow embossed on it. When winding the film on the arrow needs to move half of a revolution to have advanced the film a full frame. Therefore you need to be in the habit of either remembering to advance after every shot so that you are ready to take your next picture and not get a double exposure (unless you want to do that!)
The Recesky is a TLR (twin lens reflex) so you don’t see exactly the image you are going to
get as there will be parallax effect between the viewing lens and the camera lens. This is not a significant problem for distance work but gets problematic with close ups. Focusing, such as it is, can be achieved by winding the lenses, which are meshed together, in and out and viewing the scene through the “ground glass” (plastic) viewfinder. Note the image is upside down so it takes a bit of getting used to moving and tilting the camera in the opposite direction to what you think. Also the viewfinder is very dim so the camera is best used in bright sunlight if you want to rely on the viewfinder to compose your shot.
Once you have run through your film it can be developed quite cheaply at many drugstores, camera shops or big box stores, since it uses standard 35mm film. This is a huge advantage over the Holga cameras with their 110 film format, which we had to wet process ourselves.
Maybe it’s just me but the other thing that I like about this whole activity is the introduction of an anticipatory element to the creative flow. Instead of simply pressing the arrow and looking at the image on the camera LCD you have to wait until the entire film is shot and then wait hours or days for the photos to be produced. I also suggest you also get JPG versions on a DVD too if you can unless you want to scan the negatives or prints yourself to a higher quality format.
The images that the Recesky produces are quaint, often unexpected and have that natural retro feel, with vignetting and soft focus. Even mundane objects take in a different appearance and it is for this reason that I will often use my digital and my Recesky when I am on a shoot, to compare the imagery afterwards. I guess no two cameras are truly the same although the Recesky camera body is significantly more light proof than the Holga, so you don’t get that light bleed effect for which the latter is so well known – or at least I don’t.
The other thing with the Recesky is that it is relatively compact so you can pop it in your jacket pocket and take it wherever you go. It’s also fascinating to see the people’s expressions when composing a shot with the camera – usually a look of bewilderment as they assume you are, in fact, using some hi-tech equipment, radar detector, measuring device or 3-D camera. Some people’s curiosity will even get the better of them sufficiently to ask what it is!
So, in conclusion if you want to try something a little different from your normal routine, don’t want to spend too much money that you could spend on glass for your digital equipment, but are prepared to put in some time and patience, then why not give this a go and join the fun of not being entirely in control of how your final art will reveal itself!
I have uploaded a small gallery of shots taken with this box of fun here