So my brother went to a second hand store and bought me a T50 for a B-Day present. Nice gesture but I’ve got too many cameras already. Still I futzed around with it and read a manual online and I guessed it’s like a point and shoot being you can’t change the aperture without the camera defaulting to 1/60 shutter speed. Anyone here shoot one and have opinions?
Yes, and I like full auto SLRs. Today I sported a Canon AV-1, the T-50 progenitor. I also have a Konica FP-1, the most auto of auto SLR cameras, which takes regular lenses but only exposes at 2.8, 5.6 or f11. Weird. The annoying thing about the Canon T-range is the film advance noise. You could probably hear one at a metal concert.
And looks it I might add.Don't forget the T60, the last FD mount SLR and actually made by Cosina.
Aesthetics is in the eye of the beholder. A 1960s Skoda or a new Merc? The Skud every time. The provenance of photography is the photograph. A plastic point and shoot can make better photos than an F6 in the right hands.Aesthetics and provenance matters.
Even if you pretend it doesn’t.
Well, due to its design I call it an SLR to take to the opera.[T60] As neutered and lacking in charm and enthusiasm as the Minolta 370s or FM10.
I disagree. There was considerable resistance to Martin Parr becoming a Magnum member, particularly by Henri Cartier-Bresson. His work ran counter to the monochrome aesthetic that characterised Magnum's photojournalistic origins. Now Martin Parr's work looks mainstream, and he was in demand for his style commercially. People don't know what they want until they're offered it.Aesthetics is not an exact science (what really is these days?), but that doesn’t mean that anything goes.
It’s the continuum fallacy: Because something is fuzzy around the edges, or looks different from some points of view, doesn’t mean that it doesn’t exist.
There is such a thing as bad taste, and good and bad design, within the fabric of human society.
No matter what false popular, conflict deferring, false idioms might say.
Exactly. Most people who are not dealing with aesthetic matters on a daily basis or have given it much thought, have little grasp of why, how and when something appeals to them or anyone.I disagree. There was considerable resistance to Martin Parr becoming a Magnum member, particularly by Henri Cartier-Bresson. His work ran counter to the monochrome aesthetic that characterised Magnum's photojournalistic origins. Now Martin Parr's work looks mainstream, and he was in demand for his style commercially. People don't know what they want until they're offered it.
You can discuss taste and aesthetics seriously and philosophically, but not in the consumerist way you're suggesting. Any fool with money can buy branded goods, and believe they offer him bragging rights. The Canon T50 and T70 are not visually pleasing if your tastes run to a Nikon F or a Leica III, but encapsulate early 1980s Japanese design aimed at a western market, definitively. Also, cameras exist for the sole purpose of taking photographs, the aesthetics of which have nothing to do with the desirability or visual appeal of the camera.You can’t just brush any discussion away with platitudes like “it’s all in the eye of the beholder” or “you can’t discuss taste”.
I looked at all the “T” series online. You have to wind the 60, ok no big deal, but I’d prefer a winder so might pick up a T70 or perhaps a Pentax 80’s model and use my screw mounts.Don't forget the T60, the last FD mount SLR and actually made by Cosina.
Yeah I kinda like it too. Don’t really know what contraption to compare it to?Speaking of taste,
I love the sound of the T50, and to others is fingernails on the chalkboard.
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