A couple of vintage cameras and some essential reading.
My passion for photography began at 10 with my dad's Pentax K1000. This durable camera, though now well-worn and lacking a light meter, still captures incredible images and sparked my lifelong love for photography and Pentax.
For over a decade, I've been building a substantial Pentax collection: over 50 lenses and 25+ camera bodies (digital and film), growing annually. Lately, I've prioritized shooting film, experimenting with various setups, often by bringing an old film camera to events and asking for portraits.
Looking for your photo? Click "Contact" at the top for your secure album link. This site, hosted on Adobe Lightroom Portfolios, is itself an experiment, offering a secure and affordable way to share my work.
Why shoot strangers with vintage film cameras in challenging environments like bars, and why keep the photos private? It's about creative challenge—exploring complex lighting with both natural and artificial sources. It's also a great way to connect with people. I respect each person's willingness to participate, so photo albums are shared only with those pictured, and you're free to use your photos as you wish (unlike my landscape work, these aren't watermarked, though a mention of my site is always welcome).
Below are some cameras I've used or plan to use for these unique film experiments. Thank you again to everyone who has participated!
Pentax Soptmatic F with SMC Takumar 55mm F1.8 lens.
The Pentax Spotmatic F hasn't made it to an event yet. I'm still troubleshooting the hot shoe to get it to sync reliably with a speedlight. It supports TTL, but its internal light meter is still a bit inconsistent. I'm hoping to get it out for a shoot soon, likely loaded with some black and white film.
Petnax Super Program with SMC Pentax-A 50mm f1.7
As a 13-year-old, this was my dream camera, a Pentax I could only wish for. It's truly the most advanced manual focus camera Pentax ever made, boasting a range of automatic modes that make it an absolute pleasure to shoot with. Known as the Pentax Super-A outside the U.S., I'm fortunate to have several in my collection, and I'm hoping to gather enough to use for a future film photography workshop.
Pentax 645 (right) next to the Pentax SuperProgram (for scale).
The newest addition to the collection is an original 1983 Pentax 645 medium format camera. Interestingly, this was released the same year as the Super-A/SuperProgram. This film camera uses the Pentax 645 mount, which is still compatible with today's digital Pentax 645z. So far, I only have one lens for it: the manual focus SMC Pentax-A 645 55mm f/2.8. I recently used this "tank of a camera" to shoot some event photos.
Pentax PZ-1 with SMC Pentax-FA 28-105mm F4-5.6 lens
The Pentax PZ-1 (or Z-1 elsewhere) was a camera I always wanted, a regretful missed opportunity in the early 2000s when I opted for a different model. These cameras, including the PZ-1P, might have an unconventional aesthetic, but they were remarkably forward-thinking. Their design incorporated what I'd call "proto-digital" features, like a large LCD, intuitive dials, and simple ergonomics, not to mention a working "Power Zoom."
It's been a genuinely fun and dependable camera to use, and I've unexpectedly grown to really like the off-center hot shoe mount. Paired with it, the Pentax-FA 28-105mm F4-5.6 is arguably my top pick for an affordable Pentax lens, offering fantastic versatility, though it can be a challenge to locate a good one.
Pentax K1000 with SMC Pentax-M 50mm f2.0 lens.
This old K1000 has captured thousands of images, effectively framing my childhood memories within its 50mm focal length. While the camera certainly shows its age – its internal light meter died about a decade ago – it's a testament to its enduring spirit. Repairing it is possible, but finding someone with the expertise is increasingly difficult. I nearly lost it once in the early 2000s when a repair shop unexpectedly closed, thankfully retrieving it just before liquidation as digital cameras surged in popularity.
Instead of a distant repair, I've embraced a simple solution: an inexpensive external light meter that slides onto the hot shoe. It's fascinating to witness the arc of technology, especially with film's recent resurgence. A decade ago, a K1000 with a dead meter was barely worth its sentimental value; now, they're quickly hitting triple-digit prices. A $40 "do-dad" effectively brings these classics back to life.
For me, though, the real heart of the matter is the beat-up Pentax-M 50mm f/2 lens that has adorned this camera for nearly 50 years. It's my absolute favorite lens, used on every K-mount camera I've ever owned, both film and digital. I'll likely be buried with it. Even my much more modern Pentax K1 full-frame DSLR occasionally borrows this trusty old M-series 50mm.
