The shortest version I know was 135-10, made by Agfa in the 80s.
This is fairly common on medium format, but on 35, people try to squeeze extra frames. (Me, I wish they still made 18 exposure 35mm rolls, since 24 or 36 are just way too many.). My Canonet QL17 GIII also advances to the first frame without using the shutter.
You've obviously never had the unpleasant experience of overwinding the film in the heat of the moment in the middle of a wedding or important paid gig and pulled it out of the cassette I have had in the past since then never shoot more than 33 on a 36 exposure film.
One can always bulk-load the length desired.
There are more GDR cameras that take a type 135 cassette instead of a take-up spool, but then you lack the built-in knive and instead must help yourself.One of these days I'm going to get some take-up cassettes and use them in my Exaktas, just so I can use the film cutting knife to produce a short-exposure roll.
A couple of things:
You wrote, "The F-1 had that awkward rewind-side-mounted flash contact similar to the Nikon F, F2, and F3, so this is a welcome addition when I use a flash." As you can see from the picture below, only the Nikon F has a side mounted flash port as the F2 and F3 are in front.
You wrote, "This is Canon’s first attempt at a pro-level camera." No doubt the Canonflex was not as successful as the Nikon F is a gross understatement but nonetheless it was Canon's first attempt at a pro level SLR.
Thanks for reading! Jasper is by my side right nowI would love to know which lens you used for the Jasper shot. The bokeh is to die for, and, though I'm a Canon FD fan, not all lenses have a fantastic bokeh. Perhaps I do hace that lens.
I have greatly reduced yellowing on the Takumars with a gooseneck high intensity LED lamp from IKEA. Just put face down on foil and position the LED lamp directly over. Leave for a few days, then flip over and repeat. The sunlight trick didn't work very well for me.I suppose putting it out in sunlight for a few weeks would solve the issue, just as with some of the 50/1.4 Super Takumars.
Ha ha! I'm over that skydiving phase...not that I was ever in it. I trust metal over plastic any day. I've just been frustrated one too many times with a critical plastic part breaking. Plus, the F-1 has much more going for it and a lot of pretty good reviews. Who knows, maybe an AV-1 is in my future. Thanks for reading and commenting!Of course if you are looking for a camera to take with you on skydiving excursions and the like, then I suppose something more rugged is required.
Thanks for reading and commenting. Yes, it was the 50/1.4. Love that lens. A lot of times I just prefer basic, heavy cameras to shoot with. I don't want to have to carry a separate meter with me all the time, so once I know a camera's metering characteristics I can relax and just shoot.I'd have to say that your 50/1.4 would get pretty close. Bokeh looks about right for the 50/1.4, seems to me.
As for the article, I found it to be a very nice work. I've been shooting with the original Canon F-1 for over 35 years. During this time I've come to own many different cameras -- many of which are outstanding photographic tools -- yet the original F-1 is still my favorite 35mm camera, especially the second variant, often referred to as the F-1n. The New F-1 is certainly no slouch of a camera, but I just like the old one better. All the controls are intuitively placed; it just feels right in my hands.
So in light of that, I probably should have said that it was Canon's first attempt at a pro-level camera since the Nikon F was introduced.
In this context we should not overlook that even Nikon did not offer the first System SLR, but it was KW with their Praktina. On the market already in 1953!True enough on the Canonflex, but I'd argue that it was not a true system camera when introduced. It only had two auto diaphragm lenses, no interchangeable screens, etc. that the Nikon F did have. So in light of that, I probably should have said that it was Canon's first attempt at a pro-level camera since the Nikon F was introduced.
I don't recall ever breaking a plastic part on my cameras. But then, I'm fairly gentle with all my camera equipment; if a lever, knob or switch gets stuck and refuses to move, I don't try to force it. Using brute force rarely ever fixes a malfunctioning camera... more likely, this will only exacerbate the problem, not make it better.I trust metal over plastic any day. I've just been frustrated one too many times with a critical plastic part breaking.
I still have to find out what material the door is made from.
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