#new 35mm slr

[johnnymartyr]

Why Buy A New Film Camera When I Can Buy Used Ones From eBay?!

by Johnny Martyr Film photographer in 2000: “Why would I buy a new Nikon FM10 for $150, a new Nikon FM2 for $700 or a new Nikon FM3a for $800 from a camera store when I can buy a used Nikon FM from eBay for $50?” Film photographer in 2010: “Why would I buy a new Nikon FM10 for $300 from a camera store when I can buy a used Nikon FM for $75, a used Nikon FM2 for $200, or a used Nikon FM3a from…

[kodachrome-net]

The 400 Theatre, Chicago, 1982

[miyacchis]

[ashleighxcx]

Coney Island by Ellen Munro

[bull-believer]

missing ag fairs and when the sun would come out sometimes

[lantern-hill]

hello! i love your photos, i just added a bunch of your posts to my queue <3 i love your shots of the nature in org. you dont have to answer but i wanted to ask please what camera did you use for “cat on film” ? ive been thinking about getting a 35mm camera but i don’t know which one would give me that soft warm fuzzy look your photos of your cat had :’) thank you

hi, thank you!

the camera i took those on is a chinon gaf memo 35ee,..

...but i wouldn't recommend getting one, to be honest, especially if you're new to film photography. it's a rangefinder focus, which means instead of just turning a wheel around the lens until the image is sharp, you have to line up two tiny versions of what you see in the center of the viewfinder and then take the picture. like this:

you see the tiny yellow rectangle in the middle of the frame? in order to focus the camera, you need to line up the two images within that tiny amount of space. there's a whole bunch of other reasons i don't love this camera, and a few things i like, but i won't go into it. i don't really use this camera anymore.

the good thing is that the "soft warm fuzzy feeling" you want to replicate really has almost nothing to do with this camera. it's more related to the film you use, the settings you use on your camera, and, of course, the lighting in the area where you're taking the photo.

here's another photo i took that has a similar warm, fuzzy vibe, despite the fact that it was taken on a different camera and with different film.

i'm not a film photography expert by any means, but i would say when you're trying to get this type of vibe, the actual lighting in the place where you're taking the photo is the most important.

you also probably want to use a camera that doesn't have fixed focus. Some cameras, especially the really easy to use instant film or disposable film ones, don't require you to focus; you just press the button and move on. that's fixed focus. part of what gives you the warm fuzzy feeling about the photo above is that not every part of the image is sharp.

a lot of the pictures in that cat post are also slightly over- or under-exposed, but none of them use flash, so you probably want a camera that doesn't automatically set off a flash if it detects the lighting is too low.

in terms of getting your first film camera, that can be tricky because there's basically no new ones out there for sale- unless you want to get a tacky plastic disposable or shill out 1000s for a Leica. you're most likely going to have to buy secondhand from a camera store or just some guy online. facebook marketplace is really good for this in my experience.

some buying tips:

-decide if you want a point-and-shoot (you just look through the viewfinder and press the shutter button, done) or a SLR that lets you manually adjust the shutter speed, iso, etc. both are great and i have one of each for different situations.

-in my experience, don't bother paying more than 40$ CAD for a 2ndhand point-and-shoot or $100 for a full film camera unless it's something ridiculously amazing or unless you're buying secondhand from a camera store.

-look up the specs of your camera before buying it and pay attention to the degree to which the camera is automatic. film cameras use a light meter to measure what the shutter speed should be in different situations to capture the right amount of light, but the way they use the light meter differs. if a camera is fully automatic, that means that it measures the light in the room and then automatically adjusts the shutter speed to be correct.

this sounds great, but it also usually means you can't manually change the shutter speed. this can be a problem because, again, you're buying a secondhand camera that's probably at least two decades old. there's a high chance the electric components that automatically measure the light will be corroded or broken or will soon break down, and when they do repairs may be very expensive or even impossible, since you just can't find some repair parts anymore.

the more manual your film camera is, the better it can stand the test of time, because even if the camera's light meter fully breaks down and can't be repaired, you can buy a handheld light meter to tell you the right shutter speed and then manually change the shutter speed on your camera. this isn't to say to avoid all automatic features- all my cameras are to some degree automatic and i like it a lot- but its something to be aware of.

-look up your camera on lomography.com, which has a ton of film photos that you can sort by film and by camera. (i also have my own lomography account, where my photos are sorted by film and by camera.)

-when buying a camera that has a battery slot, open it up and check for any rust or corrosion inside. don't buy it if there's any green or brown on the parts the battery connects to.

i have three other cameras that i have and like a lot:

nikon EM (SLR) - 80 bucks on FB marketplace

yashica fx-3 super 2000 (SLR) - belonged to a relative

samsung ff-222 (point + shoot) - 30 bucks on FB marketplace

i also like the canon T series a lot, my friend has a canon t70.

and the films i tend to use are:

fujifilm superia (my fave; relatively cheap color film. the cat photos are on this.)

kodak ultramax (slightly more expensive. not that different results wise, maybe a little more pastel.)

portra - expensive but pretty

ektar - expensive but pretty

ilford hp5 b&w - cheap. good for testing a new film cam so you can see results without splurging too much.

you can look them up on lomography to see the differences between them.

hope this helps!

[rabbitcruiser]

National Camera Day 

Dust off an old digital camera, buy a disposable camera, or just fire up your smartphone and snap some pictures of your day to keep those memories forever.

The origin of National Camera Day is unknown, but it is used as a reminder for us to remember the existence of the camera and its many benefits. After all, how many other mediums can capture people and places so beautifully? How many other mediums can evoke smiles of memories past, or reminders of events that have shaped our lives?

The camera, in all of its many forms, is to be celebrated. This humble device has become a major part of our lives, and so, on  National Camera Day, snap some photos during your lunch hour, on your commute to work, or whenever a moment of inspiration strikes.

Of course, the way you take pictures probably won’t be the way that people did it before the advent of digital photography and smart devices. Readers of a younger generation will be reaching for their smartphones to take photos of the world around them. And even if you are somebody who was well-versed in the wonderful world of 35mm film and zoom lenses, you might still find yourself reaching for your mobile device instead of that vintage camera from yesteryear.

Still, no matter what type of device you use to take photos, do something this National Camera Day. We all need to express ourselves creatively, so let your juices flow when you’re out and about or pottering around in your home, and take some magical pics.

History of Cameras and Photography

Cameras and photography have developed substantially over the years, from its early roots with the French inventor Joseph Niépce right up to modern day digital photography.

Joseph Niépce was a French inventor and is most noted as one of the inventors of photography and as a pioneer in the field. He developed the heliograph; a technique used to produce the world’s first known photograph in 1825, the view from the window at Le Gras the families estate.

In 1839, Louis Jacques Daguerre took the first fixed image that didn’t fade. He is recognized for his invention of the daguerreotype process of photography. He became known as one of the fathers of photography. His method required 30 minutes of exposure. He named the process – the Daguerreotype. Tintypes were developed in 1856 by Hamilton Smith and decades later, George Eastman invented flexible and unbreakable film that could be rolled. This was the birth of the first Kodak that was offered for sale in 1888.

In 1925 the Leica I went on sale, and its immediate popularity spawned a number of competitors. Kodak was one such competitor, and they released the Retina I in 1934. Though 35 mm cameras were still out of reach for most people things would soon change with the introduction of the inexpensive Argus A in 1936. The Japanese camera industry began with the birth of Canon in 1936 with its 35 mm rangefinder. Japanese cameras would soon become incredibly popular in the West after the Korean War as veterans and soldiers stationed in Japan brought them back to the United States.

While conventional cameras were becoming more refined and sophisticated, an entirely new type of camera appeared on the market in 1948. While TSLR and SLR were still the rage this new camera would change the way people would capture memories. This was the Polaroid, the world’s first instant-picture camera where no film development was needed. Known as a Land Camera after its inventor, Edwin Land, this camera was able to produce finished positive prints from the exposed negatives in under a minute. This new camera took the market by storm as people no longer had to sit still for long periods of time in order for their photographer to snap a picture.

The first digital camera that was commercially sold was in December of 1989 in Japan, the DS-X by Fuji. In 1991, Kodak brought to market the Kodak DCS-100, the beginning of a long line of professional Kodak DCS SLR cameras that were based in part on film bodies. It used a 1.3 megapixel sensor and was priced at $13,000.

The first commercially available digital camera, in the United States, was the 1990 the Dycam Model 1. It was originally a commercial failure because it was black and white, low in resolution, and cost nearly $1,000 but this changed and soon became loved by photographers.

With the standardisation of JPEG and MPEG in 1988, image and video files could be compressed for storage onto a SD or CF card. With the introduction of the Nikon D1 in 1999 at 2.47 megapixels, this was the first digital SLR that was entirely by a major manufacturer. The D1 cost just under $6,000 and was inexpensive for professional photographers and high-end consumers. This camera also used Nikon F-mount lenses, which meant photographers could utilise many of the lenses they already owned.

By 2010, nearly all mobile phones featured built-in camera with a resolution of 1-2 megapixels digital video camera. Many cameras also featured built-in GPS.

How To celebrate National Camera Day

You don’t need to know the history of the camera to celebrate National Camera Day, but while we have given you a snapshot of the people and events that have paved the way for the cameras we use today, you could make a special effort to learn more, be that at your local library or by looking up facts online.

The most obvious thing to do today is to take some pictures of your own. Use your smartphone if that is your camera of choice, but if you do have access to a digital camera or something that still uses film, brush the dust off it, and take it out for a walk. Who knows what you might see when you’re out and about, be it a comical moment that you can later share with your friends, or a piece of rare beauty that you can capture in a photograph to be looked on forever.

Take photos of your family and friends too, and along with any other pictures you take, share them on social media if they were digitally taken. And why not gift a photo to another? If you have taken something that will have special resonance for another, print it off and put it in a photo frame.

Today could be the day to push yourself out of your comfort zone. So, you might put down your phone and use an actual camera for your photos, and you could take shots of something that you have never attempted before. It could be a sunrise or sunset, birds in flight, or a scenic view at great height, as just a few examples. Just be careful if you attempt that last one!

Source

[analog-cafe]

New on Analog.Cafe: "Miranda Sensomat Japanese Film SLR Review: With the Waist-Level Finder & a M39 Lens Adapter" — Miranda Sensomat is a Japanese 35mm SLR with a versatile lens mount, swappable viewfinder, and great build quality at an affordable price. — [ Click the link to read the full post. ]

[cuntylestat]

tell us a bit more about your camera collection :^)

lmao gladly! i basically tried to have one of each: instant, 35mm point and shoot, 35mm slr, medium format and now digital (i have 3 more cameras, one of them a very old dslr and two film cameras that i have no use for anymore and haven't sold). most of the cameras i have were quite affordable, so in terms of film cameras i've never spent more than 250€ on a camera. the new digital one is the biggest splurge i've made, but because of rising film prices it seemed like the right choice. i wanted this one in particular because fujfiilm has film simulations which mean i don't have to edit every picture, and i like that the dials are so similar to an old film camera (but i still need to figure out all the settings). also, it's just so pretty and small. let me know if you have any questions about anything in particular with my cameras!!

[beatlesblogger]

Paul McCartney - 1964: Eyes of the Storm

Liverpool, London, Paris, New York, Washington, D.C. and Miami. Six cities pivotal in the success of The Beatles as their music and their fame burst into the world, changing a generation forever. The year: 1964. Captured on film by one of those at the very centre of the storm: Paul McCartney. In 2020, a treasure trove of nearly a thousand photographs taken by McCartney on a 35mm SLR camera…

[dancuny]

Art Deco Rolleicord 1

Some cameras look so amazing that you consider them more of a work of art than a mechanical piece of metal and glass that takes photos. That was my thought the first time I saw the Rolleicord 1. While the Rolleicord 1 is a fairly plain camera, it's the "skin" that gives it a "wow" factor.

 It's the same feeling I had when I saw cameras like the cameras designed by Walter Teague, like the Kodak Beau Brownies, The Petite Coquette, and the Gift Kodak. They are more of something you'd see in a museum rather than take out and take photos with.

 It has more to do with the Art Deco era; these items were manufactured in, and along with the pride in artistry, the companies had to present something to their audience than we currently have. The fact that a camera company in the 1930s would introduce a new line of cameras with such a striking appearance is a bold statement and a testament to the Rollei name.

The History:

Rollei holds a significant place in photographic history. Founded in 1920 in Braunschweig, Germany, by Paul Franke and Reinhold Heidecke, the company originally bore the name "Franke & Heidecke." Initially, it focused on precision mechanical devices, but by the mid-1920s, Rollei began producing cameras that would revolutionize photography.

 Rollei gained international recognition in 1929 with the launch of the Rolleiflex, the first twin-lens reflex (TLR) camera. The Rolleiflex was compact, robust, and designed for medium-format photography. Its unique twin-lens system featured one lens for viewing and focusing and another for capturing the image on film. This innovative design allowed photographers to frame shots at waist level, making candid photography more discreet and practical. The Rolleiflex quickly became a favorite among professionals and enthusiasts, particularly for portrait and documentary work.

The success of the Rolleiflex led to the introduction of the Rolleicord, a more affordable version aimed at amateur photographers. Both models showcased Rollei's commitment to precision engineering and optical excellence, which became hallmarks of the brand.

 During the 1930s and 1940s, Rollei continued to innovate, refining the Rolleiflex and Rolleicord lines with features such as automatic film winding and improved optics. Despite the challenges of World War II, the company maintained its reputation for high-quality cameras. In the post-war era, Rollei played a significant role in the resurgence of the German camera industry.

The 1950s and 1960s marked a golden age for Rollei. The Rolleiflex TLR became synonymous with professional photography and was used by renowned photographers such as Richard Avedon, Diane Arbus, and Vivian Maier. Rollei also ventured into other formats and technologies. The Rolleiflex 35mm SLR, introduced in the late 1950s, showcased the company's adaptability to the changing market demands.

By the 1970s, the rise of Japanese camera manufacturers like Nikon, Canon, and Minolta introduced intense competition. These companies offered high-quality single-lens reflex (SLR) cameras at more affordable prices, challenging Rollei's dominance in medium-format and professional photography.

In response, Rollei diversified its product line, introducing the Rolleiflex SL66, a medium-format SLR, and the compact Rollei 35, which became one of its most miniature 35mm cameras. Despite these innovations, Rollei struggled to maintain its market share due to its higher production costs and its competitors' rapidly advancing technology.

 In the 1980s and 1990s, Rollei faced financial difficulties, leading to changes in ownership and restructuring. The company shifted focus to digital imaging and niche markets, including high-end studio cameras and digital backs for medium-format systems.

The Rollei legacy endures as a symbol of German engineering and innovation, reflecting a century of dedication to the art and science of photography.

My Camera:

The Rolleicord 1 was made between 1933 and early 1936, with 32,508 units sold. The camera is nickel-plated and decorated with a trompe-l'oeil grid on all sides except the bottom, giving it its unique look. In 1934, Franke & Heideke produced a version of the camera without the beautiful pattern finish and covered the body in drab black leather, which was the Rolleicord 1, model 2.

 My Rolleicord 1 is 5.25" tall with the chimney closed and 8" tall with the chimney up, by 4" deep, by 3.5" wide, including the focus knob. It weighs 1 lb, 15.4 oz, so just under 2 lbs. The serial number on the camera is 029789, which is stamped into the body with the back door opened. The camera has a Carl Zeiss Jena Triotar 7.5cm f4.5 lens in a Compur shutter. 

The shutter speeds range from 1/300 to 1 sec., along with "B" and "T" settings. For transparency purposes, my shutter isn't in the best condition and only works on the top three speeds (1/300, 1/100, 1/50 sec.). It doesn't close if I use any of the slower speeds. The shutter speeds are set by turning the collar around the lens to the desired shutter speed, which is indicated by a triangle. 

 The camera's aperture setting ranges from f4.5 to F32. A pointing triangle and a separate collar on the other side of where you set the shutter speed determine the aperture setting.

 To cock the shutter, you slide the bar under the lens to the right as you're holding the camera to take a photo. With the same lever, you slide the lever to the left to take the photo. There aren't separate levers for cocking the shutter and tripping the shutter. It's all done with the same bar. Me, I like that, so you're not looking to cock the shutter in one area and take the photo in a different area. Very smooth and easy. There is also a socket for a cable release on the bottom of the shutter at approximately the 7 o'clock position.

To load the camera with film, simply pull the back release on the bottom of the camera, and the back will swing open. To take the empty spool of 120 film from the bottom chamber, you'll need to pull out the film knob on the right, which will allow you to take the empty spool out of the camera. 

 Pulling out the winding knob will allow you to put the empty spool in the top portion of the camera to advance the film to the next frame. Press the winding knob to keep the empty film spool in place. Put the new roll of film into the bottom chamber and press back in the film knob to keep the roll in place.

 Once you have the empty spool on the top and the new roll of film on the bottom, remove the tape that keeps the roll closed, pull the leader over the bottom and top roller, and slide the film's end into the take-up spool slot. Wind the film onto the take-up spool with the advance knob until you see an arrow pointing to the ends of the film. At this point, you can close the back door and wind the film to your first frame.

The frame counter on the left side of my camera body isn't working. Luckily, on the bottom of the camera, there is a red window you can use to see when you're in the first frame. Unfortunately, this numbering system on the film rolls is used for 6x9 format, so using this method, I only got eight images on a roll of 120 film instead of the standard twelve for 6x6 format cameras.

 To focus on your subject, pull up the chimney by slightly pulling back the release on the back of the chimney, and pull up, which will expose the large focusing screen. On the right side of the camera is the focusing knob. The focusing distance is from 0.8 meters to infinity. Turn the focusing knob to bring your subject into focus on the screen.

A fine focus magnifier on a spring rests on the back of the chimney. Bring the magnifier around to the top of the viewfinder. Mine stays in place, allowing the photographer to bring their eye closer to the magnifying glass for fine focus. When not using the fine focus magnifier, it can be swung back to the back of the finder so you can see the full image on the focusing screen. You can also slide the front portion of the chimney back and use the chimney as a sport finder if needed.

On the back of the camera is an exposure guide and depth of field scale. This scale was produced in German, French, and English for the different markets. My guide on the back is in German. According to the Rolleicord 1 manual, the exposure guide is rated for DIN 26, which would be ASA/ISO 320

 My Results:

It's in the northwest United States in early January, which means very little sunshine. So I loaded up the camera with some 400 ISO film and walked around the neighborhood to see what I could get from this Rolleicord 1 camera. Knowing I only had the top three speeds to work with, this wasn't too much of an issue as the sun was generally behind clouds most of the day; it wasn't that dark out, and it typically shows between 1/300 and 1/100 shutter speed.

 Here are some of the results from my Rolleicord 1 camera.

Conclusion:

WOW!!! What a fun camera to shoot with. I forget how much I enjoy shooting with a TLR camera. It reminds me of my wedding shooting days many years ago. Looking down at your subjects and seeing such a nice big image brings back many good memories.

Even though the Rolleicord was made for amateur photographers, the lens is fantastic, easy to use, and excellent Rollei camera quality. I only had to keep reminding myself that when you see something going right in the finder, you need to turn left. If something comes into the frame on the right, it is really on the left in real life. I like the ability to keep things square, and while I prefer a panoramic format, having a square image is interesting and gives a new perspective.

 Thank you for taking some time from your day to read about this fantastic camera.

 Until next week, please be safe.

[johnnymartyr]

It's Not a Mirror Bumper

by Johnny Martyr Do people still reiterate that once-famous line from the 90’s movie Kindergarten Cop where Arnold Schwartenegger says “It’s not a tumor” in his characteristically out-of-place Austrian accent? Well… (in my best Arnold) It’s not a mirror bumper! Man, everything about this post is showing my age. It’s been about 24 years since I picked up my first vintage SLR and over that span…

[bigedred]

Vintage 1980's Omega Super Chromega C-700 Dichroic Lamphouse Enlarger & Omega Co

Vintage 1980's Omega Super Chromega C-700 Dichroic Lamphouse Enlarger & Omega Concept Six B-600O "VERY RARE ITEM NOT MANY LEFT OUT THERE THAT ARE COMPLETE LIKE THIS ONE" This item will look used but was tested and still works but all kodak materials that are included more than likely are no good and have expired a long time ago. Great Collectable Item. Mega Super Chromega C-700 Dichroic Lamphouse and omega concept six enlarger print machine B-600. Both units come with paperback book instructions. Both omega machines are high quality products back in there time and the innovation design makes them a break threw in dark room engineering. All accessories are included to make a complete printing machine / This is a collectible item. Print machines were tested and still work but there is no guarantee the kodak paper is still good because of age. Material: Metal Plastic and Paper Size of Platform/Base: 20" L x 14 1/2" W x 4" H Size of Metal Beam" 32' Tall HISTORY: The C-700 enlarger represents the later generation of the model that started as the B600. While the B600 accommodated a maximum negative size of 2�"x2�", the C700 accepts negatives up to 2�"x2�". Negative carriers and accessories are much the same as for the B600. The B600 and Chromega B600 enlargers were used as the basis for a series of specialty enlargers called Concept Six. Instead of the usual baseboards, these enlargers had a special "structural foam molded" base incorporating a borderless 11"x14" easel and either a paper safe or exposure meter/timer combination. The Concept Six enlargers overlapped the B600 and C700 enlargers, so were sold with both types of lamphouses. Used Advice: Since the Concept Six enlargers have so many chassis parts in common with the C700, the enlargers themselves can still be fully refurbished without problem. However, the timer/exposure meters are not likely to be worth servicing as the probes and many other parts are no longer available. The colorhead that was initially offered with the C-700 was called the Super Chromega C-700 Dichroic Lamphouse, but with the introduction of the C760 enlarger in 1981, the same colorhead, with minor changes, was renamed the Super Chromega C760 Dichroic Lamphouse and the catalogue number changed. The two units are functionally identical. It was during this period that the Omega company benefited from a major boom in interest in photography. The 35mm SLR, with built-in metering systems simplified the process of achieving quality photographs and widened the appeal of photography as a hobby. Later on the introduction of colorhead enlargers and color processing drums enabled anyone to conveniently process their own color enlargements in home darkrooms. As a result, the sales of darkroom equipment skyrocketed as well. This enabled Omega to introduce a number of new models during the 1970's and early 80's, including the D5, C67, B66, B600, C760 and D5500.

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[photoshedblog]

The Graflex Graphic 35 is a 35mm rangefinder.

The Graflex Graphic 35 is a 35mm rangefinder introduced in 1955 by Graflex as a replacement for the Graflex Ciro 35, the camera on which it was also heavily based. The Graphic 35 was designed in the US and earlier examples were made in Rochester although production shifted to Japan with Kowa later on. The lens and shutter were sourced from West Germany. The Graflex in 1959, 35mm film cameras began to take a larger portion of the market in the mid-1950s, and you are seeking a way to distinguish your cameras from the rest. The transistor radio only recently hit the market, and such electronic advances are not yet appearing in camera design. Especially with older camera companies who hired primarily mechanical engineers. Except for a few outliers such as the Miranda the interchangeable lens SLR is not yet a standard. Most manufacturers concentrated on fixed lens rangefinders during the 1950s. Canon and Nikon have only just unveiled their, yet successful, lines of SLR 35mm film cameras in 1959. In addition to this excellent balance of usability and capability, the Graphic 35 was one of the best values in photography at the time of its release. Costing just $77 for the version equipped with the 50mm F/3.5 lens and $98 for the faster F/2.8 lens, it was one of the most affordable full-featured 35mm film rangefinder-focusing cameras in production at that time.

The result of the camera’s combination of respectable performance, eye-catching new features and reasonable price was as we’d expect; it was popular. In just three years of production, the Graphic 35 sold approximately 68,000 units. I still used my Graphic 35 in 2024; that’s 70 years after someone in Rochester tightened the final screw and packed it in a box to be shipped to a camera shop. Cameras have come a long way in those 70 years, and yet the Graphic 35 remains a lot of great things, things that we still value in a camera today. It’s compact. It’s dense. It’s beautiful. It’s well-made and works like magic. Its knobs and dials and switches and levers actuate with precision, emitting the whirrs and clicks and the wicks that mechanical-thing-likers live for. In an earlier article, I called the Zeiss Contina a “clockwork camera” (a term that other bloggers and YouTubers have adopted despite a conspicuous absence of royalty checks). The Graphic 35 is similarly clock-like. I bought this Graphic 35 at the estate sale of Kirk Kekatos (founding member and former president of the Chicago Photographic Collectors Society) along with other cameras like the LaBelle Pal, Univex Model AF-4, Ansco Memo, Vest Pocket Kodak, and Bell & Howell Electric Eye 127. I had actually been looking for this camera’s successor—the Graphic 35 Jet—but couldn’t pass up a great deal on the Graphic 35 when I found one at the estate sale. And at the end of the someone came up to me with the Graphic 35 jet the person that bided for in the sale his cheque did not cleaner.

[pocketsrestorations]

Check out this listing I just added to my Poshmark closet: Minolta DYNAX MAXXUM 800si 35mm SLR Film Camera with Minolta AF Zoom 28-80mm.