5 Soviet Camera Brands That Are Worth Checking Out

5 Soviet Camera Brands That Are Worth Checking Out

Many photographers around the work, especially film photographers, still love old Soviet cameras till now because they can bring amazing colors and breathtaking backgrounds for their photographs. Many of Soviet cameras still work fine, they are cheap and also available on the second hand market and on eBay. And here are 5 Soviet camera brands that are worth for you to checking out.

FED

FED 2 with the Jupiter 8 lens
(via Wikipedia)

The FED is a Soviet rangefinder camera, mass-produced from 1934 until around 1990, and also the name of the factory that made it. FED is indirectly named after Felix Edmundovich Dzerzhinsky, founder of the Cheka. It was his name that was given to the labour commune at Kharkiv (Ukraine) whose manager, Anton Makarenko, encouraged a workshop education for indigent children and who decided to copy the Leica in 1932.

Production of FED rangefinder cameras ended in the mid 1990s, Fed's site claims that it was in fact 1997: "Start of serial production of vertical drive for control system of tanks. Production of all types of cameras has stopped. 8,647,000 cameras were manufactured since the beginning."

Photo by Leo Tage-Hansen

Photo by photogtom43

Photo by Annette Pehrsson

Kiev

Kiev 60 TTL (via Wikipedia)

Kiev is a Soviet brand of photographic equipment including cameras manufactured by the Arsenal Factory in Kiev, Ukraine. At the end of November 2009 Gevorg Vartanyan of Arax, a Ukrainian distributor of reworked medium format Kiev cameras and lenses, wrote to tell customers that the Arsenal factory was closing after 245 years of operation. The email said that management had been turned over to the Special Construction Department (SKTB), all work had stopped and the workers laid off, and that the factory warehouse was empty. He thought that Arax had enough cameras and parts to remain in business for at least another 4–5 years. The amount of stock remaining with other distributors around the world is unknown.

The low price of the Kiev medium format cameras has attracted many amateur photographers wishing to enter the medium format camera market on a budget. Some have reported that the prices of a Kiev camera setup with other Russian or Ukrainian components (e.g. lenses) can be 1/10 to 1/15 the price of a similar Hasselblad setup. One of the reasons for the lasting demand for these cameras is the price of the lenses that can be used on them. Despite the cheap price, the Kiev lenses are high quality optic wise, with many of the lenses being based on Zeiss designs.

Photo by *YIP*

Photo by Fatih Alkan

Photo by amamak photography!

Lomography

The original Lomo LC-A
(via Wikipedia)

Lomography is an analog camera movement and community, and is also a commercial trademark of Lomographische AG. The Lomographic Society International was founded in 1992 by a group of Viennese students after they discovered the Lomo LC-A camera created by LOMO PLC of Saint Petersburg, Russia.

Since the introduction of the original Lomo LC-A, Lomography has produced and marketed an entire line of their own analog cameras. Most Lomographic cameras claim to produce photographic effects such as oversaturated colors (which can never be achieved with lo-fi lenses), extreme optical distortions, rainbow-colored subjects, off-kilter exposure, blurring and alternative film processing (obviously available with any film camera), all things usually considered bad in photography.

Photo by Kevin Dooley

Photo by Angela Marlaud

Photo by Liana Garcia Joyce

Zenit

Zenit-E Camera with Industar 50mm lens
(via Wikipedia)

Zenit is a Russian (and formerly Soviet) camera brand manufactured by KMZ in the town of Krasnogorsk near Moscow since 1952 and by BelOMO in Belarus since the 1970s. The Zenit trademark is associated with 35 mm SLR cameras. In the 1960s and 1970s, they were exported by Mashpriborintorg to 74 countries.

During 1967 through 1969 KMZ built an automatic die-cast moulding line, allowing mass camera production. Camera production switched to the M42×1 thread (also known as Praktica thread) and an instant-return mirror was also developed. This led to one of the most famous Zenits — Zenit-E which saw (including its subtypes) over 12 million produced.

Photo by Liis Klammer

Photo by Oliver Liria

Photo by Aleksey Orlov

Zorki

Zorki 2-s with Industar-50 lens
(via Wikipedia)

Zorki is the name of a series of 35mm rangefinder cameras manufactured in the Soviet Union between 1948 and 1978. It's also one of the widest known brands in Soviet photo industry. The Zorki was a product of the Krasnogorsk Mechanical Factory (KMZ), which also produced the Zenit single lens reflex camera (SLR). The first Zorki cameras were inexpensive Leica II copies just like the FED, but later models were considerably different from the Leica.

When using most Zorki cameras, the shutter speed should only be set after the shutter has been cocked. Setting the shutter speed before the shutter is cocked can permanently damage the camera. This especially affects all Zorki cameras with slow shutter speeds under 1/30 of a second, in particular the Zorki-3 and Zorki-4.

Photo by GuvanuvaLala

Photo by MarkGuitarPhoto

Photo by Brad Brok

Do you own a Soviet camera, or have you ever try on one of those vintage cameras? We love to hear your thoughts on them, feel free to tell us in the comments. Thank you!

All information from Wikipedia.

12 Cool Medium Format Film Cameras to Buy

Nowadays, when people start their journey into analogue photography, most of them will begin on a 35mm film camera. If you're already someone who got in analogue but never try on medium format film photography, here's a list of 12 cool medium format film cameras for you to give it a try. There are many options of medium format film photography and below the cameras were listed by alphabet which included from cheap to expensive, some for professional, another ones for amateur photographers that you can find easily on the internet.

Bronica SQ-A

Photo by by Casey Murphy

Bronica was a Japanese brand of medium format roll-film cameras first appeared in 1958, when the company's founder, Zenzaburo Yoshino, introduced a camera of his own design, the Bronica Z rollfilm camera, at the Philadelphia Camera Show.

The Bronica SQ series is a line of 6x6 medium format SLR camera system introduced in 1980. In 1982 the SQ-A, a refinement of the SQ, was released with mirror lockup and a new view finder system now supporting auto exposure. The newer AE finders are not fully compatible with the older SQ cameras, they are unable to mount properly because there are now more electronic connector pins. The film back dark slides are now locked when not attached to the camera. The new dark slides are now grey in color.

In addition to shooting 6x6 negatives, the SQ-A can also be fitted with 645 and 35mm backs. The Bronica SQ series cameras are currently around only option for people who want a machine for the 6x6 format but they are not satisfied with the machines of eastern origin (Pentacon Six, Kiev 88), but can't purchase of top equipment by Hasselblad.

Contax 645

Photo by ym32

The Contax 645 AF is a 6×4.5cm medium-format, autofocus film camera, introduced by Kyocera under the Contax brand in 1999 with a range of interchangeable lenses. The camera system was discontinued in 2005.

The camera uses interchangeable film backs with dark slides, with inserts available for both 120 and 220 film. The back has a film-reminder memo holder. The film loading is automatic with bar coded film and will automatically advance to the first frame. Non coded film requires aligning the backing paper start indicator. Bar coded film ISO can be read automatically with a range of 25 to 5000 ISO. It can also be manually set from 6 to 6400 ISO. The film transport system is motorized, with automatic advance of up to 1.6 fps. It is powered by a 2CR5 battery.

Fujica GW690

Photo by Easy Skywalker

The Fujica GW690 Professional was the first to be released by Fuji in November 1978. It is based on the GL690 — a leaf-shutter rangefinder camera for 6×9 exposures on 120 or 220 film — from which it differs most importantly in having a fixed lens.

Features (such as interchangeable film backs) normal among medium-format cameras of the time, and others (such as exposure meters) almost universal among cameras in general are missing in the GW690 and its successors, which look rather as if a black Leica M3 with a particularly large lens (perhaps 85mm f/1.8) had been made to a much larger scale, they are therefore often called the "Texas Leica".

Hasselblad 500C

Photo by Emcee Grady

The Hasselblad 500C is perhaps the most iconic model of Hasselblad camera, introduced in 1957 by the Victor Hasselblad AB. It represented a move away from the (sometimes troublesome) focal-plane shutter used in the Hasselblad 1600 F and 1000 F, and launched a lens system with optics by Carl Zeiss which included a sophisticated leaf shutter in the barrel of each. The original model stayed in production until 1970. It was replaced by the 500C/M (M for modified according to the factory), featuring an interchangeable focusing screen and an improved automatic back, the A-series film magazines.

The new Hasselblad camera gained a reputation over the years for its robustness, mechanical accuracy and for having a wide range of high-quality lenses, making it the medium-format camera of choice for generations of professional photographers. Victor Hasselblad AB reinforced this reputation by making the most of the fact that their camera had been chosen by NASA for use in space, although not without modifications.

Kiev 60

Photo by Victor Serri

Kiev 60 is a medium format SLR film system camera manufactured by Arsenal Factory, in Kiev, Ukraine, former USSR, and produced between 1984-99. It is similar to an enlarged 35 mm SLR, based loosely on the Pentacon Six and using the same breech-lock lens mount. This camera was originally called the Kiev 6C with a shutter release button activated by the left hand, and accepting both 220 and 120 film. The current Kiev 60 has a more conventional right-handed shutter release, but does not take 220 film. The Kiev 60 has a simpler frame-advancement mechanism than the Pentacon Six but it is often poorly adjusted at the factory resulting in incorrect frame spacing. This problem can be fixed,

The low price of the Kiev medium format cameras has attracted many amateur photographers wishing to enter the medium format camera market on a budget.

Mamiya RZ67

Photo by Casey Broadwater

The Mamiya RZ67 is a medium format single-lens reflex system camera manufactured by Mamiya. There are three successive models: the RZ67 Professional (first model released in 1982), RZ67 Professional II (released in 1995) and RZ67 Professional IID (released in 2004). RZ67 is a modular camera system, meaning lenses, viewfinders, ground glasses, film winders and film backs are all interchangeable. It is primarily designed for studio use, but can also be used in the field. The RZ67 Sekor lenses have built-in electronic leaf shutters which are cocked and triggered from the body. Focusing is performed with a bellows on the body instead of the lenses.

Mamiya RZ67 is a true multiformat camera. The camera accepts 6x7, 6x6 and 6x4.5, 120 and 220 film magazines and Polaroid as well as Quadra 72 4x5 sheet film backs. The film speed is set on each RZ back via a dial. There are two versions of the 6x7 and 6x4.5 backs, the model II versions have a second film counter to always show the film count on the top. The RZ67 operates on one 6 V silver oxide 4SR44 battery, or 6 V 4LR44 alkaline battery. It can be used in emergency mode fully mechanically with a fixed 1/400 sec shutter speed. Multiple exposures are possible in the M-mode. Mirror flip up is supported. The body has one standard flash hot shoe on its left side, one plug for a standard remote shutter cable release, and a socket for an electronic shutter trigger.

Minolta Autocord

Photo by Tim Clark

The Minolta Autocord series was an effort by Chiyoda Kogaku Seiko, K.K. to compete in the premium-quality segment of the twin lens reflex (TLR) market. The Autocord series went through a large number of minor variations during its lifespan between 1955 and 1966.

All shared a number of desirable features: crank film advance with automatic shutter cocking and frame counting; a highly regarded Tessar-type 4-element Rokkor f/3.5 lens; self-timer; slow shutter speeds, down to 1 second; and an override button, allowing the advance crank to rotate backwards and cock the shutter without advancing the film, permitting double exposures. Early Optiper shutters only had speeds to 1/400 sec., but this was increased to 1/500 in later versions.

These features compared well with a Tessar-equipped Rolleiflex of the day, yet Autocords sold at a subtantially lower price. Both meterless models and ones including a light meter (originally selenium; later, CdS) were offered in parallel throughout the series.

Pentacon Six

Photo by Betsu-na ka na...

The Pentacon Six is a single-lens reflex (SLR) medium format camera system made by Pentacon from 1956 to 1992. It has been called an "SLR on steroids". The Six accepts lenses with the Pentacon Six mount, a breech-lock bayonet mount.

A basic kit consists of a Carl Zeiss Biometar 1:2.8 80 mm lens, a simple matte screen and a waist-level finder. This is a system camera and lenses from a 30 mm fisheye to a 1000 mm mirror objective are available. Excellent Carl Zeiss Jena and Schneider lenses can be found at reasonable prices from the usual used-camera sources. A variety of viewing screens, from simple matte to grids or fresnel screens, are available. The waist-level finder can be replaced by non-metered or metered prism finders. The metered prisms were introduced in 1968; from this point onwards, the camera was called Pentacon six TL. Nothing had changed in the camera itself; the only thing new was the availability of a metered prism allowing TTL metering.

Pentax 6×7

Photo by Guy Sande

The Pentax 6×7 is a Japanese medium format SLR roll film camera launched by Asahi Pentax in 1969. It produces 6×7 images on 120 or 220 roll film.

The Pentax 6×7 is quite similar to a regular 35mm SLR camera. It uses either 120 or 220 roll film, which produces ten or twenty (twenty-one for the 1969 version) 6×7 format exposures respectively, with each exposure of 56×70mm area. A small knob on the right-hand side of the camera selects the film type, and also the film pressure plate inside has positions for either type, the thickness of the films being different. The standard equipment includes the Super-Multi-Coated TAKUMAR/6×7 1:2.4 f=105 lens and the removable pentaprism finder that shows exactly the exposed image. A very useful addition is the separately available left-hand grip with accessory shoe.

The camera is completely battery dependent. It does not work without film, unless the film counter dial is rotated away from the empty position and closing the back while still holding the dial.

Rolleiflex 2.8F

Photo by Kevin-Xu

Germany 1949, four years after the end of WWII and the country is still in ruins. A 1944 bombing raid had destroyed the Braunschweig factory. Francke&Heidecke, who introduced their successful Rolleiflex in 1928, start a series of improvements on the well appreciated camera. The Rolleiflex 2.8A sees the light of day. In 2002 F&R introduced the last version Rolleiflex 2,8 FX, now produced by DHW Fototechnik.

The Rolleiflex 2.8F model K7F of 1960 was available for 20 years with four minor revisions up to the K7F4 of at the end of 1981. The F versions removes the EVS system. The first revision K7F uses Planar lens and uses 120 film and has the 12 frame counter. K7F2 was released in 1965, like most 120 film camera revisions released that year it was because of 220 film and provided a new 12/24 frame counter. K7F3 is nearly the same but simplifies the back and no longer takes the flat glass adapter. The K7F4 typically has the Xenotar lens. Later limited production camera runs became available such as the Aurum and K7FP Platinum edition (1984) and the K4FPA till about 1989. In about 1988 the 2,8GX series was released.

The 2.8F has a Compur shutter with at least B, X-sync and speeds from 1-1/500s. It also has a winding lever that stops at the first exposure.

Rolleicord III

Photo by by Dejan Slavkovic

Rolleicords were introduced by Franke & Heidecke (Rollei) as a lower cost solution for those wanting a Rollei TLR, but unable to afford the ever-increasing price of a Rolleiflex. Costs were cut for the Rolleicord by using a knob instead of a handle to wind the film on, using cheaper internals, and most importantly, using cheaper optics. The Rolleicord III was introduced in Germany between Nov 1950 and July 1953. It came with the Schneider-Kreuznach Xenar lens f/3.5 75mm. The shutter is a Compur-Rapid with speeds from 1 sec to 1/500 sec, plus B and auto-stop film wind.

Yashica Mat G-124

Photo by Gonzalo Villar

The Yashica Mat-124 G was made from 1970 till 1986 and was the last TLR produced by Yashica. Even if this type of camera seemed to be obsolete at the time of its appearence, the 124 G was a success in that time.

The 124G has a four-element, 80mm F3.5 taking lens, of the better "Yashinon" variety. Focusing is via a ground glass screen, with a 3x diopter loupe for critical focusing, as well as a sports finder. The focusing screen is used with the camera at waist-level. The sportsfinder, incorporated in the focusing hood, is operational by pushing the front cover backwards. According to the Instruction Booklet, it comes in handy for snapshots or when shooting fast-moving objects at eye-level. No screen to check focus in this set-up though. The Copal shutter features speeds 1 to 1/500 sec., plus B.

The 124G can handle both 120 and 220 film. It also features a coupled match-needle exposure meter, although it uses now-discontinued 1.3v mercury cells. Suitable air-zinc replacements and adapters for modern alkaline or silver oxide batteries may be obtained at camera stores and on the internet.
Infomation from Wikipedia and Camera-wiki.

100 Tips from a Professional Photographer

•  
• SammyNichs 

Here’s a list of tips, advice, rules and just things to know about photography from Sammy Nichs. The gist of it is to keep taking pictures always.

Here’s the full list:

100 Tips from a Professional Photographer

1. Just because someone has an expensive camera doesn’t mean that they’re a good photographer.
2. Always shoot in RAW. Always.
3. Prime lenses help you learn to be a better photographer.
4. Photo editing is an art in itself
5. The rule of thirds works 99% of the time.
6. Macro photography isn’t for everybody.
7. UV filters work just as well as lens caps.
8. Go outside & shoot photos rather than spending hours a day on photography forums.
9. Capture the beauty in the mundane and you have a winning photograph.
10. Film isn’t better than digital.
11. Digital isn’t better than film.
12. There is no “magic” camera or lens.
13. Better lenses don’t give you better photos.
14. Spend less time looking at other people’s work and more time shooting your own.
15. Don’t take your DSLR to parties.
16. Girls dig photographers.
17. Making your photos b/w doesn’t automatically make them “artsy”
18. People will always discredit your work if you tell them you “photoshop” your images. Rather, tell them that you process them in the “digital darkroom”.
19. You don’t need to take a photo of everything.
20. Have at least 2 backups of all your images. Like they say in war, two is one, one is none.
21. Ditch the neck strap and get a handstrap.
22. Get closer when taking your photos, they often turn out better.
23. Be a part of a scene while taking a photo; not a voyeur.
24. Taking a photo crouched often make your photos look more interesting.
25. Worry less about technical aspects and focus more on compositional aspects of photography.
26. Tape up any logos on your camera with black gaffers tape- it brings a lot less attention to you.
27. Always underexpose by 2/3rds of a stop when shooting in broad daylight.
28. The more photos you take, the better you get.
29. Don’t be afraid to take several photos of the same scene at different exposures, angles, or apertures.
30. Only show your best photos.
31. A point-and-shoot is still a camera.
32. Join an online photography forum.
33. Critique the works of others.
34. Think before you shoot.
35. A good photo shouldn’t require explanation (although background information often adds to an image). *
36. Alcohol and photography do not mix well.
37. Draw inspiration from other photographers but never worship them.
38. Grain is beautiful.
39. Ditch the photo backpack and get a messenger bag. It makes getting your lenses and camera a whole lot easier.
40. Simplicity is key.
41. The definition of photography is: “painting with light.” Use light in your favor.
42. Find your style of photography and stick with it.
43. Having a second monitor is the best thing ever for photo processing.
44. Silver EFEX pro is the best b/w converter.
45. Carry your camera with you everywhere. Everywhere.
46. Never let photography get in the way of enjoying life.
47. Don’t pamper your camera. Use and abuse it.
48. Take straight photos.
49. Shoot with confidence.
50. Photography and juxtaposition are best friends.
51. Print out your photos big. They will make you happy.
52. Give your photos to friends.
53. Give them to strangers.
54. Don’t forget to frame them.
55. Costco prints are cheap and look great.
56. Go out and take photos with (a) friend(s).
57. Join a photo club or start one for yourself.
58. Photos make great presents.
59. Taking photos of strangers is thrilling.
60. Candid>Posed.
61. Natural light is the best light.
62. 35mm (on full frame) is the best “walk-around” focal length.
63. Don’t be afraid to bump up your ISO when necessary.
64. You don’t need to always bring a tripod with you everywhere you go (hell, I don’t even own one).
65. It is always better to underexpose than overexpose.
66. Shooting photos of homeless people in an attempt to be “artsy” is exploitation.
67. You will find the best photo opportunities in the least likely situations.
68. Photos are always more interesting with the human element included.
69. You can’t “photoshop” bad images into good ones.
70. Nowadays everybody is a photographer.
71. You don’t need to fly to Paris to get good photos; the best photo opportunities are in your backyard.
72. People with DSLRS who shoot portraits with their grip pointed downwards look like morons.
73. Cameras as tools, not toys.
74. In terms of composition, photography and painting aren’t much different.
75. Photography isn’t a hobby- it’s a lifestyle.
76. Make photos, not excuses.
77. Be original in your photography. Don’t try to copy the style of others.
78. The best photographs tell stories that begs the viewer for more.
79. Any cameras but black ones draw too much attention.
80. The more gear you carry around with you the less you will enjoy photography.
81. Good self-portraits are harder to take than they seem.
82. Laughter always draws out peoples’ true character in a photograph.
83. Don’t look suspicious when taking photos- blend in with the environment.
84. Landscape photography can become dull after a while.
85. Have fun while taking photos.
86. Never delete any of your photos.
87. Be respectful when taking photos of people or places.
88. When taking candid photos of people in the street, it is easier to use a wide-angle than a telephoto lens.
89. Travel and photography are the perfect pair.
90. Learn how to read a histogram.
91. A noisy photo is better than a blurry one.
92. Don’t be afraid to take photos in the rain.
93. Learn how to enjoy the moment, rather than relentlessly trying to capture the perfect picture of it.
94. Never take photos on an empty stomach.
95. You will discover a lot about yourself through your photography.
96. Never hoard your photographic insight- share it with the world.
97. Never stop taking photos
98. Photography is more than simply taking photos, it is a philosophy of life
99. Capture the decisive moment
100. Write your own list.

How To Photograph Children Outdoors

By Rachael Towne

Children are one of people’s favourite subjects to photograph, but like any subject they present their own photographic challenges. Let’s take a look at a few ways to get the best possible results with photographing children in outdoor conditions.

Why Natural Light is Best

Children, like anybody, look their best when photographed outdoors in natural light.  Soft, natural light gives the face a more natural and pleasing shape, makes the skin appear softer and removes ugly harsh shadows.

Firing a flash will often make babies and younger children blink or even cry.  Also, flash will generally flatten the skin and eliminate the subtle shadows that give a face depth and realism.

Baby Waving with Parents in Background by Tampa Band Photos, on Flickr

When looking for suitable outdoor light to take photos of children, keep in mind that the midday sun is very harsh and will cast unflattering shadows.  The best times of day for outdoor portrait photography are the early morning hours and the last hour before sunset (golden hour).  The sun will be low in the sky which will be very flattering to your subject, since the light will create a soft, golden glow.  Find soft light coming from one side and you can hardly go wrong.

If you absolutely have to do your photo-session during the middle of the day, there are a few ways to make it work.  First, do your best to stay out of areas with bright, direct sunlight.  Instead, look for places with open shade to shoot in.  Position the child to have open sky in front of them to properly illuminate their face.  You can also use a fill flash or a portable reflector to fill in shadows that are a bit too dark.

How to Make it Fun and Spontaneous

Children have a short attention span and most of them will simply be unable to sit still for very long or follow complicated posing instructions.  The environment of an indoor portrait studio can be intimidating for the child and ultimately a frustrating place for the photographer during a child photo-shoot.  So a fun outdoor setting such as a park, beach, their own back-yard or a beautiful garden can instantly help put a child at ease.

sofia-029 by Vivian Chen [陳培雯], on Flickr

Some parents will have given their child some very strict coaching prior to the photo session to be on their best behavior.  While well-intentioned, this might actually backfire and cause the child to need extra time to relax and just be themselves.  Stiff poses and cheesy smiles are not what you are going for, so it is imperative that the child feel relaxed and view the shoot as a fun event.  Bringing treats, with the parent’s permission, can be a great way to motivate a child that is bored or frustrated with the photo-session.

An outdoor portrait session can allow you to get some great action shots such as the child joyfully running in the grass, digging in the sand at the beach, playing with a colorful toy and even with other children.    In some ways, a great and spontaneous photo of a child is more of a documentary than a portrait.

Kids, like adults, are individuals and one of your goals should be to capture their uniqueness in your photographs.  One way to help facilitate this is to take some time to get to know them prior to the photo-session.  You will quickly learn if they are shy, outgoing, serious, studious, especially active or funny.  You can then brain-storm fun ways to portray these traits in your photos.

Babies in particular can’t fake a pose or a smile, which is not what you want anyway, so simple games of peek-a-boo from behind the camera, or talking in a silly voice, will usually bring out a beaming natural smile.  Keep in mind that babies are almost always at their best in the early part of the day.  Fatigue at the end of a day will usually make a baby fussy.  Also, if the mother feels comfortable with it, capturing a photo of a baby nursing in a beautiful outdoor setting can be especially touching.

What Are the Best Camera Settings for Photographing Children Outdoors?

In order to really draw focus to the child as your subject, it is a good idea to set your camera to aperture priority mode.  A good aperture to start with is f5.6, since the background will be out-of-focus but will allow the child’s entire face to be in focus.

The Great Outdoors by Meanest Indian, on Flickr

Generally, the lowest ISO you can get away with is going to produce the best results.  In lower light situations you can go up to ISO 800 if you find that your shutter speeds are just too long.  However, going over ISO 800 can start to cause a lot of digital noise in your portraits.

A fast shutter speed is essential if the child is in movement at all.  If you are shooting in aperture priority mode and your shutter speeds are too long, you will have to make adjustments.  A shutter speed of 1/500th or even more may be necessary to capture a sharp image.  If you are having a hard time finding a good shutter speed, you can always set your camera to ‘sports mode, since this setting is designed to freeze motion.

A zoom lens in the 70-200mm range is a good all-purpose lens for shooting portraits of children.  This will allow you to have some distance from the child but still fill the frame.  If you’re shooting in a poorly lit area, the fastest lens you have will likely work the best.

Additional Tips and Tricks

• Always pay attention to distracting elements in the background of your shots, as well as any other unwanted details.  For example, a branch that appears to be growing out of the child’s head will ruin the shot and might not be noticed until later. Also, paying attention to details will pay off later.  For example, make sure that the top of the child’s head isn’t being cut-off and that their hands and feet are visible in whole-body portraits.
• The child’s clothing is an important consideration.  A loud, patterned or striped shirt might distract the eye and take attention away from the subject.  However, there may be times when the child’s personality can be creatively highlighted with eye-catching clothing.  Whatever your ultimate creative goal, keep in mind that kids feel more relaxed in casual, comfortable clothing rather than formal wear.
• Since you will want your outdoor portraits of children to be relaxed and spontaneous, carrying around minimal gear is a good idea.  Keep in mind the weight and bulk of your lenses and other camera equipment so that you can follow your subject around freely.
• Finally, always take lots and lots of pictures.  If you simply wait camera-in-hand for the best moment you will likely miss it!  Keep on taking lots of shots and vary angles and distance throughout the session.  There will definitely be some out-of-focus or undesirable shots, but you will certainly end up with at least a few gems in the end.

How To Load and Rewind Film in a Zenit E

How To Load and Rewind Film in a Zenit E

The Zenit E is a very common Russian SLR camera from the 1970's. It can be used for most various amateur shooting and a number of special shootings. Some film photographers love this vintage camera because it combines with Helios lenses to bring soft and extraordinary colors for their images. Like other vintage cameras, Zenit E is easy to use with common parameters but it has some different things harder for someone who's just new with this camera to load and, especially rewind film. Here's a guide showing you step by step for how to loading and rewinding film in a Zenit E camera.

Loading

The camera is loaded at usual lighting. To load the camera:

1. Open the back cover of the camera, pulling the latch of the lock upwards.
2. Fix the end of the film under the take-up spool spring and hook a sprocket hole on the spool protrusion. See that the film be placed correctly between the film channel slides.
3. Place the cassette into its seat, having pulled the film rewind knob upwards.
4. Return the rewind knob to its initial position and fix it in this position by turning it in the arrow direction.
5. Close the back cover and press down the lock latch.
6. Cock the shutter, turning the shutter setting lever to the stop, then press the release button.
As the lever turns, the film moves by one shot.
To transport nonexposed film to the film gate, cock the shutter three times pressing the release button after each cocking.
Note. While cocking the shutter, see if the film rewind knob rotates. If not check whether the camera is correctly loaded with film.
7. Turning the exposure counter dial in any direction set the figure "0" against the index dot on the ring.
Set the exposure counter when the shutter is cocked.

Rewinding

When the exposure counter dial shows figure 36, it means that the exposed film should be rewound into the cassette. The procedure is the following:

1. Press the film rewind knob and rotate it contrary to the direction shown by the indicating pointer.
2. Disengage the shutter mechanism. For this aim press the film rewind release button and, holding it in this position, rotate the film rewind knob in the direction, shown by the indicating pointer, until you feel by the applied force that the end of the film left the spring of the take-up spool. Unloading camera
3. Open the back cover of the camera.
4. Pull the film rewind knob upwards and remove the film cassette out of the camera.
Note. For further photographing cock the shutter and, holding the sprocket, make sure that it rotates.