Hi, i'm Varlet, He/Him, adult.
History nerd, Cripple and amateur film photographer.
All images, artworks, writing and anything else on this blog is made by humans, for humans.
Adult humans, at that. Minors please DNI.
I'm a disabled amateur photographer situated in the Great North Sea Garbage Gyre known as England. Before going any further, i want to outline this blog's meaning:
Raw: I don't slave over my images for ages in post. I scan, colour correct, and move on. The less edited and more raw they are, the more i like 'em.
Analogue: This blog primarily focuses on analogue film photography, the less electronics involved the better. I only really use digital photography to take photos of the cameras i'm using.
Wastrel: I am trash, and i like being trash.
With that out the way, below the break there's a list of my cameras, and links to posts i've made about them. They're added in the order posts are made, oldest at the top, newest at the bottom.
CAMERAS BY NAME:
This is a list of my cameras sorted by name. I've only listed ones i have posts about, so check back regularly!
I visited Teddington Photographic today, a lovely lil high street photography retailer in west London, and I got a couple of bits and pieces! Details under the cut!
It's a cozy little place, nestled into a reasonably bustling high street consisting mostly of vape shops, tea rooms, and SUVs the size of small houses. After hopping off the third of what'd end up being seven buses that day, I shuffled my generously proportioned ass in and, after queueing (which was great to see! Love that they're getting business, good shit!), I picked up The Haul. All two bits of it.
There's a few reasons why I got so little. A: I'd have to carry the stuff back with me, and I only have so much satchel space. B: I'm not exactly John Loaded, I didn't want to spend much cause I know what my ass is like around this shit. I'll turbo-bankrupt myself if I'm not careful, the Gear Acquisition Syndrome is strong. And lastly, 3: Honestly I was expecting Online Prices, y'know where everyone and their mam upcharges at least 30% unless they're clueless, which in this day and age is increasingly rare. But that wasn't the case! The entire day, bus fare included, was £83. The Edixa was 75 of that. I'm rather pleased.
This strange wide beastie was the main thing I was there for. It's a Wirgin Edixa Stereo 2a, a range finder camera that takes two pictures at once with synchronised shutters and apertures. Made in the mid fifties during a fad for stereo photography (that seems to repeat every fifty years, it happened during the turns of the 20th and 21st centuries too), the idea was you'd shoot Colour Positive film to get it made into slides for stereo/faux-3D slide viewing. A neat gimmick, but 3D is almost always just that. A gimmick.
Needless to say, I'm not planning on doing that. Instead I'll be using it for a different gimmick, oooh! I'm planning on seeing if I can find a pair of 25mm screw filters it needs, one in red, one in blue, and shoot some black and white with it. I think the difference'll be pretty swanky. Hopefully, anyway. I've a roll of Kodak Gold in it right now, so we'll see if that test roll comes out well. We can but hope.
The other thing I got, now it's very interesting. It's an old Bausch & Lomb pneumatic shutter, still with some hose attached! It came with a bit of brass & mahogany lensboard and a C. P. Goerz Doppel-Anastigmat lens, which is niiiiice! It all needs some TLC, the speeds are off cause one of the pneumatic cylinders sticks and the lens elements are filthayyyyy, but other than that she's peach! I'm hoping to use this on the large format restoration project I haven't talked about on here yet but will eventually, ooooo!
And that's it! I can't recommend Teddington Photographic highly enough, both their eBay store and in person store are rife with goodies, well worth a look online and especially in person if you're in the area. I'm really looking forward to putting what I got to use, and I'm definitely gonna have to find excuses valid and acceptable reasons to go back there someday.
Preferably when it's cooler though, dear god I felt like I'd walked through a swimming pool by the time I got home.
'ello 'ello, no scheduled posts for a bit, I'm away from home for a bit and I'm sitting on, like, three+ rolls I can't develop yet.
BUT! BUT!
I get to go to a camera shop next week! In person!! In the real world!!! First time I've done so and I'm exCITEDDDD
I've already called ahead and reserved something I've been eyefucking on their eBay page for weeks now, but that's probably not gonna be the only thing I pick up, I'm gonna see if they have some large format bits and pieces for a resto project I don't think I've talked about on here yet 👀👀
Gonna post pics of the haul, obvs. Little teasers for what'll show up on here a while down the line :P
'ello 'ello, no scheduled posts for a bit, I'm away from home for a bit and I'm sitting on, like, three+ rolls I can't develop yet.
BUT! BUT!
I get to go to a camera shop next week! In person!! In the real world!!! First time I've done so and I'm exCITEDDDD
I've already called ahead and reserved something I've been eyefucking on their eBay page for weeks now, but that's probably not gonna be the only thing I pick up, I'm gonna see if they have some large format bits and pieces for a resto project I don't think I've talked about on here yet 👀👀
Gonna post pics of the haul, obvs. Little teasers for what'll show up on here a while down the line :P
Expired film through a whackin' great artistic lens, courtesy of the Eastern Bloc.
A little while back on a nice clear day, i hefted up nearly six kilograms of camera into my arms and then went birdspotting. The results, while not great from a quality viewpoint, i find really rather striking. More below the cut!
Слава!
The subject of today's post is one of the most (in)famous medium-format cameras to come out of the Soviet Union as was, the Kiev[sic] 60. Second-latest in a long line of medium-format Single Lens Reflex cameras, these beasts were made for decades by Arsenal in Kyiv, Ukraine, from the 1960s all the way through to the fall of the Soviet Union, with a new company, Arax, picking up the pieces and making refined versions until 2014. My particular one's a 90s baby, and given its relative newness it's almost without fault.
Almost.
See i got it for cheap, and one of the two reasons for that is the button to open the back of the camera is... a suggestion rather than an action. It requests the door open rather than actively making it so. The other reason is the Volna-3 lens it came with had two of the elements come loose. Thus, i needed a new lens.
So i looked for a cheap one.
And, uh. Well.
I landed big.
The lens i got my grubby little paws on is a Meyer-Optik Goerlitz Orestegor, an f/4 300mm telephoto lens made in East Germany in, in this particular one's case, 1987. It's a solid chunk of metal and glass, driving the already weighty Kiev[sic]'s weight up to just under six kilos when loaded and tripod-mounted. While externally a little dinged up, optically this thing's flawless. Just the thing, i thought, to take out birdspotting.
Near-ish to a town near-ish to me is an airspace a great old gaggle of Red Kites call home. Now i bloody love birds, gorgeous creatures, raptors especially. I love the idea of what's basically a blender that can fly at 200kph, that's great. Banger pull, nature. Red Kites especially i adore, the fact they're coming back from the verge of extinction is incredible. I wanted to go get some on film, and honestly i wanted to try and get rid of some of the dodgy 13-year expired Kodak Portra i still had taking up space. Setting up the tripod and detaching the pentaprism from the Kiev[sic], i got to shooting.
Now, as with the other attempts at Portra, i had to scan this and correct this without a proper scanner, so that's definitely playing a part. But honestly? The grain, the colours, the vibes. I adore the results in an abstract art kinda way, the blue and yellow colour palette is especially fitting, I'm a big fan. Once i get a scanner capable of 120 film i might redo all my 120 film up til then, see if i can get some quote-unquote better shots out of it. Until then though, i'm going to adore the abstraction.
I have one roll of Portra left, and i'm not sure what to use it in. Something that's a known quantity, for sure. Maybe my Yashica-Mat, i can't wait to use that thing again. Maybe the Kiev[sic] 60 too, i know it works well, and i do now have a smaller lens, a Vega-12 with a busted aperture control. I might use it as a dedicated Bokeh Beast, the Vega should be good for that. Until then, i'll leave you with one more from the strip, one that i think is by far and away my favourite. Take care out there folks, and Слава Україні 💙💛
All photographs shot on 13-year expired Kodak Portra 160 at varying speeds & apertures. Film developed by AnalogueWonderland.co.uk and scanned with an impromptu DSLR Macro setup as my proper photo scanner doesn't fit 120. Photographs cropped, inverted, given one leveling and colouring pass and watermarked, no further edits made. Created by humans for humans.
Expired film through a whackin' great artistic lens, courtesy of the Eastern Bloc.
A little while back on a nice clear day, i hefted up nearly six kilograms of camera into my arms and then went birdspotting. The results, while not great from a quality viewpoint, i find really rather striking. More below the cut!
Слава!
The subject of today's post is one of the most (in)famous medium-format cameras to come out of the Soviet Union as was, the Kiev[sic] 60. Second-latest in a long line of medium-format Single Lens Reflex cameras, these beasts were made for decades by Arsenal in Kyiv, Ukraine, from the 1960s all the way through to the fall of the Soviet Union, with a new company, Arax, picking up the pieces and making refined versions until 2014. My particular one's a 90s baby, and given its relative newness it's almost without fault.
Almost.
See i got it for cheap, and one of the two reasons for that is the button to open the back of the camera is... a suggestion rather than an action. It requests the door open rather than actively making it so. The other reason is the Volna-3 lens it came with had two of the elements come loose. Thus, i needed a new lens.
So i looked for a cheap one.
And, uh. Well.
I landed big.
The lens i got my grubby little paws on is a Meyer-Optik Goerlitz Orestegor, an f/4 300mm telephoto lens made in East Germany in, in this particular one's case, 1987. It's a solid chunk of metal and glass, driving the already weighty Kiev[sic]'s weight up to just under six kilos when loaded and tripod-mounted. While externally a little dinged up, optically this thing's flawless. Just the thing, i thought, to take out birdspotting.
Near-ish to a town near-ish to me is an airspace a great old gaggle of Red Kites call home. Now i bloody love birds, gorgeous creatures, raptors especially. I love the idea of what's basically a blender that can fly at 200kph, that's great. Banger pull, nature. Red Kites especially i adore, the fact they're coming back from the verge of extinction is incredible. I wanted to go get some on film, and honestly i wanted to try and get rid of some of the dodgy 13-year expired Kodak Portra i still had taking up space. Setting up the tripod and detaching the pentaprism from the Kiev[sic], i got to shooting.
Now, as with the other attempts at Portra, i had to scan this and correct this without a proper scanner, so that's definitely playing a part. But honestly? The grain, the colours, the vibes. I adore the results in an abstract art kinda way, the blue and yellow colour palette is especially fitting, I'm a big fan. Once i get a scanner capable of 120 film i might redo all my 120 film up til then, see if i can get some quote-unquote better shots out of it. Until then though, i'm going to adore the abstraction.
I have one roll of Portra left, and i'm not sure what to use it in. Something that's a known quantity, for sure. Maybe my Yashica-Mat, i can't wait to use that thing again. Maybe the Kiev[sic] 60 too, i know it works well, and i do now have a smaller lens, a Vega-12 with a busted aperture control. I might use it as a dedicated Bokeh Beast, the Vega should be good for that. Until then, i'll leave you with one more from the strip, one that i think is by far and away my favourite. Take care out there folks, and Слава Україні 💙💛
All photographs shot on 13-year expired Kodak Portra 160 at varying speeds & apertures. Film developed by AnalogueWonderland.co.uk and scanned with an impromptu DSLR Macro setup as my proper photo scanner doesn't fit 120. Photographs cropped, inverted, given one leveling and colouring pass and watermarked, no further edits made. Created by humans for humans.
For my birthday last year i was deeply miserable, so i treated myself a little irresponsibly and imported an Argus C3 Matchmatic, one of the last entries in the venerable decades-long Argus C3 lineage. More below the cut!
American-Made.
A term that, for those of us in one of the two-hundred-ish countries that aren't the US of A, heavily implies a distinctly high level of absolute garbage. The cheapest product possible, farmed out to the lowest bidder, made by workers paid a pittance while the C-Suite revel in six or seven figures a month if not more, not caring a bit if-slash-when it turns out the garbage they're churning out is full of lead or other toxic substances.
Most of the time, that's an accurate assessment.
This time though, it didn't quite turn out that way.
Must be honest, my first impression of the Argus C3 Matchmatic was bad. It's a fuck-ugly and rather tacky housebrick of a thing, this particular one done up in too much chrome and Royal Irish Constabulary leatherette. Up top, an uncoupled Selenium light meter sits in, on my particular example, a rather loose cold shoe. It's uncomfortable to hold, the winding mechanism feels like an afterthought, and the viewfinder/rangefinder ports are miniscule. When i loaded it and took it out first time, i genuinely wasn't looking forward to using it.
I took it out the same time as the subject of last weeks' post, the No. 1 Pocket Kodak, lugging it around in my satchel with all the grace and elegance of a particularly cunty bricklayer. My priority was the Kodak, but after i finished the film in that, i swapped to the Argus and.
Well.
My opinions didn't change. Squinting through the viewfinders hurt my eye, the shutter cocking lever on the front-right took some getting used to as i kept getting my fingers caught on it, and the bloody light meter kept falling off.
And yet.
And yet.
The more i used, it, the more i started to fall for it.
This particular example was cleaned, lubricated and adjusted by the seller, it's in as good nick as it's possible for a camera made in 1966 to be, and the more i used it, the more i loved it. The thing's a bitch to hold, but the weight is nice. It feels reassuringly hefty, a far cry from the cheap plastic trashcams like the Kodak Instamatics that the US was churning out at this point in time.
The viewfinder is small, but it gives a fantastic picture.
The separate rangefinder is similarly small, but perfectly aligned.
The lightmeter is, surprisingly so for an old Selenium gauge, still perfectly accurate. Every shot i made was measured with it, and they all came out flawlessly.
Once i got my head around the film winding method (pull film counter catch, turn rewind dial one quarter turn, release catch, wind until stop), it became second nature. The real pièce de résistance is the lens. The f/3.5 3-element 50mm makes a beautiful picture, the colour reproduction is gorgeous and the swirling bokeh (as seen above) when it's wide open is lovely. I'm really rather falling for it.
The Argus C3 Matchmatic, much like any Argus, is not something found outside Los Estados Unidos, only really appearing if, like me, you import one. And honestly? I think it's worth it. While the form factor's absolutely miserable, the function more than makes up for it in my opinion. That said, this is by far and away one of the more feature-complete C3's, your mileage may vary with a more basic model.
Uiltimately, i'm very happy with it. It's mint, it's capable, and even it's hideousness is growing on me.
Well, most of it. The black & tan can póg mo thóin.
Take care, folks 💖
All photographs shot on Lomography CN 100 at varying speeds & apertures. Film developed by AnalogueWonderland.co.uk and scanned with my Epson V370. Photographs cropped, inverted, given one leveling pass and watermarked, no further edits made. Created by humans for humans.
I got a """new""" Scanner (an Epson Perfection 4870) that should be all fine and working and capable of up to 2x 4x5 sheets, a new camera from my bestie, a cable release that isn't either so short it's barely flexible or literally a foot longer than I am tall, and kinda a new lease on life and the hobby as a whole! yippee!
Uuuuuunfortunately I'm outta the house until early August, so I can't actually, like, develop, scan or post anything. I have a couple of scheduled posts on the way (one this Monday, one the next), but after that it's gonna be silence until I get home and get everything developed, scanned and scheduled. I'm gonna try and keep to a schedule of new posts each Monday from now on, but we'll see how that goes.
Update post over now, I hope y'all have a good weekend 💖
Airing out the Antique: 13-year expired film on a 100-year old camera.
About three months ago, at the tail end of winter, i went out for a stroll to a rural locale a while away from me, a No.1 Pocket Kodak in my satchel. More below the cut!
Imperfections.
The world's rife with them, and that's okay. Perfection is the enemy of both good and progress, that's the mindset i try and keep in mind when, like in this case, i pulled the film strip from the envelope (as i can't currently develop colour in-house) and see out of focus, unevenly coloured exposures.
A few factors resulted in this.
Firstly, the film. The Kodak Portra 160 i used in this case has been expired for 13 years, and i've no idea how it was kept. Well enough to work, but still not... Great.
Secondly, my scanner doesn't take 120, so i had to "Scan" this with my DSLR, aiming at the film laid flat over my scanner's document sheet, which itself was laid over a daylight Lamp. After that, i had to colour correct it manually, and i'm not as good as Epson's auto-shite. It's not a good way of doing it. It works, but not as well as a proper scanner.
Third, the camera: The No. 1 Pocket Kodak is 100 years old.
Pictured above, in a shite phone pic cause there's a heatwave where i am as of writing and i'll be bloody well bollocksed if i'm doing something more energetic. This particular example was made in 1926, making its centennial this year. The Gothic font on the stand (barely visible in shot) denotes it as a first run, all later ones having Art Deco. It's in surprisingly good nick for ten decades, minor rust, no holes in the bellows, and it shoots at speed. There is... One problem though. The focus, actuated by the worm screw visible on the bed there, really doesn't like holding focus, hence the issues with the photos here. But only some. Not all.
I admit, it could also be user error. I'm not great at Guess-O-Matics like the No.1 Pocket Kodak, where focusing relies on estimating focus distance and depth of field, and i do need more practice. Photos like the one above show it can well focus, the f7.9 lens capable of some surprising sharpness considering it's not even coated. I might try it with some higher speed film, really crank the aperture up to get as high a depth of field as possible. I have some Bergger Panchro 400, that might work. Though, i do have other ideas for that.
But with that, we reach the end. I love the No. 1 Pocket Kodak, it folds up to a nice little size, the 6x9cm centimeter exposures it makes are gorgeous, even without a coated lens the colours on the Portra are gorgeous, despite my rather ham-fisted attempts at colourizing. I do have another expired roll from that batch, keep an eye out in a couple of weeks. That one went even worse! :D
But for now, that's all. Take care folks 💖
All photographs shot on 13-year expired Kodak Portra 160 at 1/50 and varying apertures. Film developed by AnalogueWonderland.co.uk and scanned with an impromptu DSLR Macro setup. Photographs cropped, inverted, given one leveling and colouration pass pass and watermarked, no further edits made. Created by humans for humans.
Welcome back to the land of functionality, my Kodak No. 3 Folding Brownie Model A, Manufactured January 1906.
I picked this beauty up in an Oxfam over the new years, which was startlingly close to this thing's 120th birthday. It wasn't the cheapest out there, but after putting down 60 quid I realised I'd come away with a bit of a bargain.
A worn, tattered and clearly well-used exterior belied a surprisingly clean interior, the patent information was all still legible, the lens was mold-free (if caked in dirt), and the red slightly sun-bleached bellows are totally light-tight. Fuckin' score. The only other issues it had were listed above, and they're issues no longer.
In a couple of months, I'm going to try and put this surprisingly spiffy supercentarian to work once more. While the film it uses, 124, hasn't been made since 1971, I have a set of 124>120 adapters and I found out 4x5 large format film fits in the film chamber, so there's options there.
For now, it's going back into the box with my other old Kodak, at rest until the whim takes me and I drag it & a tripod out for a spot of photography, Edwardian style.
The Yashica 44A, and a little bit of Applied Sprocketry.
I fiddled with my Yashica 44A and used a film it wasn't designed for recently, more under the cut!
Miniaturisation.
Pervasive concept that it is, it was only a matter of time before it hit the world of Twin-Lens Reflexes. The Yashica 44 was Yashica's 1958 answer to that, being a three-quarter scale version of the venerable Yashica-Mat that uses 127 Film rather than 120. While the 44's no Goerz Minicord, it is small enough to fit in my satchel comfortably, which is nice as last month i shoved it in my bag and went for a stroll to a nearby town.
My version of the Yashica 44 is the 44A, the cheapo model without the base 44's fancier Copal Shutter and the automatic handcrank, having a basic knob advance and red window instead. Nevertheless, that didn't stop me. I painted a little stop marker on the advance knob, made up some adapters for the take-up spool (3D printed) and the little container up top where the film goes (three 1p coins wrapped in electrical tape, 's peach 👌), and removed the film rollers. Mike Feuerbacher has a good walkthrough on his website here.
The reason for the modifications is ease of use: 127 film is near-extinct, made by only a couple of companies these days. This makes it expensive, looking at £15+ a roll when i can get 3 rolls of 35mm for not much more. The economy of it all is clear-cut as far as i see it.
The problem with this is 35mm is smaller, being... well, 35mm compared to 127's 40mm. This difference in sizing means the Yashica includes the sprocket holes in the photo, which i know isn't for everyone, but, like. The crop option in every image editor exists. 's aight. Either way, i like them.
I'm a big fan of getting all artsy-fartsy with this shit. Doing this modification situation with my Yashica 44A has me thinking about doing it with other 127 cameras, like a Purma Special or maybe some sort of folder or box, like an Ensign Cadet. That'd be fun.
For future endeavours though, i'm gonna make sure to wind properly. To be on the safe side, i wound the film advance two full rotations, 720 degrees. This, as it turns out, was FAR too much. One full rotation of 360 degrees is perfectly fine, as turns out. Due to the double winding, i only got 7 exposures on an entire strip of 35mm, whereas with one wind i could get 13-14.
I really enjoyed my time with the Yashica 44A, even after a few false starts (this is actually my 2nd roll, the first one i totally bungled the development of. Womp womp.). I'm definitely gonna try and use it some more, maybe with some colour, or maybe some redscale in the winter months. A long exposure in the dark aimed at some nice light sources could go hard.
Til then, that's it for now. I've got plenty more in the pipeline though, a good few rolls scanned in and such, including some shot on expired Portra which... Went... interestingly. But for now, that's it. Take care out there folks 💖.
All photographs shot on Kentmere Pan 200 at varying speeds & apertures. Film stand developed in Rodinal, 1/100 @ 1 hour, fixed with Adofix and scanned with my Epson V370. Photographs cropped, inverted, given one leveling pass and watermarked, no further edits made. Created by humans for humans.
And goddamn, what a lovely camera that is. I've always had a soft spot for TLRs, and the Yashica-Mat is no different. More photos and rambling under the cut!
Impulsiveness.
It's something i'm very experienced with, i must admit. I'm very much of the Just Do It mindset a majority of the time, whenever disabilities and/or anxiety isn't getting the better of me. And so, a few days ago, running on nothing but impulse and a couple of bacon sandwiches i set out to a place a wee while away from where i live, to a bridge i spotted on google maps. This tiny little footbridge, ill-kept and tucked away, seemed nevertheless to be a perfect spot for a little bit of trainspotting. I hopped a bus, hopped another bus, and after a good while arrived here, just in time to spot a Class 168.
I stood there for about an hour, keeping an eye out for trains and occasionally chatting with passers-by. Having a TLR slung round your neck doesn't have make people stop and ask questions, good god. Inbetween trains (Which i got tragically few shots of with the Yash, though i got some on the Werramat i brought with me. More photos whenever i get that roll developed) i strolled around the local area, taking a couple of shots here and there.
Now i admit, while i love TLRs, i don't have any experience with them beyond this Yashica-Mat (and this is my first roll through it, to boot), and its little brother, the Yashica 44A i also have (And would have pictures from but my dumb ass bungled the development). And honestly, it shows. The shots aren't focused great, they're a bit shakey, and they could definitely be framed better. Part of that is definitely down to the mirror's substantial desilvering (A malady shared by my other Yashica, the 44A), but most of it's user error. Despite that, i loved using it, and i can't wait to do so again.
I'll be trying to head out more, especially now the weather's getting FAR nicer. Can't wait to be able to post more regularly here, i deeply enjoy photography and also writing this bollocks. For now, a couple more shots what i like and the beast itself. Take care out there 💖
All photographs shot on Kentmere Pan 100 at varying speeds & apertures. Film stand developed in Rodinal, 1/100 @ 1 hour, fixed with Adofix and scanned with an impromptu DSLR Macro setup as my proper photo scanner doesn't fit 120. I really need to trade up. Photographs cropped, inverted, given one leveling pass and watermarked, no further edits made. Created by humans for humans.
Before on the left, after on the right, more info below the cut!
I've had these two Smenas for a good while. The Smena 8 on the right was the first film camera i bought, even. All the way back in mid-2024 after seeing it in a 2nd-hand store and wondering what a camera with Cyrillic on the front was doing in the Home Counties. The Smena 8M on the left i bought a little while ago for bugger-all, and somewhat predictably, neither worked. The Smena 8's film advance is broken (hence the lack of top cover), and the Smena 8M's focusing helicoid is... Somehow Broken™. I don't know how yet, i haven't dismantled it.
Fortunately, i'm in luck. Once you get past the different externals, the internals to the Smena 8 and 8M are very similar. See below.
The Lens/Shutter units are held on by two long screws, and two long screws alone. The screws are identical in design and length between the cameras, same head, same thread, same everything. Very handy, considering these two cameras were made, in my case, twenty years apart. '69 for the 8, '89 for the 8M. The Screw pattern on the backs of the Lens/Shutter units is, unsurprisingly, also the same. See below.
The linkages are, unsurprisingly, identical also. As is the shutter, and the lens. Same unit, different styling. This makes things REAL handy to swap over if, in cases like mine, you've two cameras with different malfunctions.
I'm gonna be testing the Smena 8G ("Гибридный"/"Gibridnyy", "Hybrid", according to google translate) whenever i have the energy, which currently i do not. It's bloody cold here and it's sapping all of my energy and motivation. My kingdom for a dry sunny 25C+ day, good fuckin' god.
Once i've put a roll through it, i'll be posting updates. Keep an eye out!
Ayup, i'm Varlet.
I'm a disabled amateur photographer situated in the Great North Sea Garbage Gyre known as England. Before going any further, i want to outline this blog's meaning:
Raw: I don't slave over my images for ages in post. I scan, colour correct, and move on. The less edited and more raw they are, the more i like 'em.
Analogue: This blog primarily focuses on analogue film photography, the less electronics involved the better. I only really use digital photography to take photos of the cameras i'm using.
Wastrel: I am trash, and i like being trash.
With that out the way, below the break there's a list of my cameras, and links to posts i've made about them. Or at least, there will be eventually. This blog's new, i ain't done much yet.
CAMERAS BY NAME:
This is a list of my cameras sorted by name. I've only listed ones i have posts about, so check back regularly!
LOMO Smena "8G" (Parts hybrid)
CAMERAS BY ORIGIN:
This is a list of my cameras tagged by country of origin. I've only listed ones i have posts about, so check back regularly!
Soviet.
CAMERAS BY FORMAT:
This is a list of my cameras tagged by film format. I've only listed ones i have posts about, so check back regularly!
35mm.
I'll be updating this list whenever i upload anything new.
Varlet, Raw Analogue Wastrel @rawanaloguewastrel - Tumblr Blog | Tumgag
