Charlotte Makes Photos

/Uses

One of the first places I stop when I visit someone’s website is, if they have it, a /uses page. It’s one of those things that satisfies my curiosity and maybe, just maybe, I will get an idea or two!

I returned to using film for all of my photo-making in 2020 and it turns out that, contrary to the sorts of advice generations were raised with, I’m rather omnivorous in what I use, and have not specialized in one camera/lens, one film, and one developer.

Cameras and Lenses

Like many people who returned to using film, I have a few many more cameras than I realistically need. Among them, I do have some favourites.

35mm

My 35mm cameras get more use than any other film format. This is mostly because nearly all I have are SLRs and they usually have working meters – both features that I rely on for comfort in making photos.

Nikkormat EL / ELW / FTn

I was introduced to Nikon’s value line of cameras in a blog post from when I was getting back into film in 2020. I won an eBay auction for a Nikkormat FTn with a 50mm f/1.4 S.C. for a good price and was instantly hooked. Wanting a meter, I eventually found a working EL and my love for these cameras was cemented. Aperture priority and pre-Ai lenses? Yes please! The ELs are my single most-used cameras!

Lenses: Overall, my very favourite series of lenses are the pre-Ai Nikkors. They just have such lovely rendering to me and just please me to no end. It doesn’t hurt that, as far as older lenses go, generally quite affordable.

I also have a 35mm f/2.8 PC Nikkor which has never seen use. You really ought to use a tripod with perspective correction and, as below under “Other Formats”, I seldom use a tripod due to feelings of personal safety.

Minolta XG1 / XG-1

While I don’t find it objectionable to use, I also don’t have any special love for the experience using the Minolta XG1/XG-1. It just happens to be a generally-unfussy way to use some of my favourite lenses I own and more affordable than many other 1970s models.

When I first purchased one in 2020, it was a bit of an accident that I chose it. The price on the eBay listing was right and I was interested in trying many cameras. I’m glad that I did though, since it came with the 28-85mm zoom (the nicest zoom lens I own) and I gained access to aperture priority metering for the 58/1.4.

Lenses: My single all-time favourite lens is on this system (58/1.4) and is one of the main reasons I love Minolta’s cameras from the 1970s and early 1980s.

I also have a Minolta SRT-201, but without a working meter, it is a backup way to use these lenses. For lenses, I have an MC W.Rokkor-HG 35mm f/2.8, but it has a sticky aperture and needs servicing.

Pentax K2

There is something special to me about the short-lived Pentax K2. As their flagship model for the new K-Mount in 1975, it was supposed to represent their best foot forward and, compared to the KM and KX, which launched at the same time, was most distinct from the Spotmatic line.

In the most motherly way possible, I love this camera deeply. I will always defend it. But it has some major shortcomings. I have yet to find a copy where the ring around the lens mount you use to change film speed and exposure compensation was not as stiff as the day is long, making changing film speeds an exercise in frustration that requires some sort of tool and a willingness to risk broken nails. Because I’m not willing to give up on it, I inelegantly grapple with it, pulling the unwilling ring around with the metal clip of a pen before I load the film. I have most definitely broken nails in this process.

Lenses: Save for one, I’ve found that, for the most part, Pentax’s PK-A and PK-M lenses feel a little clinical and leave me a bit cold. With that said, I have a slightly older PK-K lens that hits all the right notes and keeps me coming back.

I also have an SMC Pentax-A 50mm f/1.4, but since it is avec champignons (fungus), it is sealed away on another shelf with other lenses that have suffered this fate. I intend to have it cleaned some day, but not just at the moment.

Pentax ES II

However much I have enjoyed using it after I acquired it after Christmas 2025, I have had to admit that my copy of the Pentax ES II is temperamental. At first I thought it might be in winter’s cold (who isn’t?), but more recently in lovely and nice temperatures, it has been sporadically underexposing in aperture priority mode.

Lenses: Although any M42 lens will work with Pentax’s most advanced Spotmatic, since I purchased it so that I could have aperture priority mode on older Takumars and they require a particular little pin to communicate between the lens and camera, I use the following lenses with it.

Nikon EM

Thanks to its marketing plans, we call this one the Lady Nikon. However misdirected Nikon’s intentions might have been (I still like a light and cute camera all the same, so perhaps not all misdirected) and however disdainful some have been for this light and simple 1980 camera, I really enjoy using it. While it’s not as light as later mostly-plastic cameras, it’s one that has been a joy to travel with and has never once let me down in the metering or mechanical departments.

I even like how it chirps when you’re out of bounds (above 1/1000 or below 1/30) since, as a glasses-wearer, I lose some of the viewfinder in casual use and won’t always see where the meter’s needle is pointing.

Lens: I only own one Ai lens, but it’s one that is generally well-respected as one that punches above its weight. While some call it a pancake, I think it’s probably a little too long for that descriptor.

Nikon F80

I purchased a Nikon F80 from a seller in Quebec City on Etsy in 2020 as a sort of climb-down from my ambitions to learn the “Sunny 16” rule with my meter-inoperable Konica. After a few rolls that were uneven (and a few write-offs), I felt that I needed at least a few good and properly-exposed rolls to be happy with before I returned.

For the most part, I use the Nikon during the winter when my frigid and Raynaud’s-addled fingers rebel against any use of the much heavier brassy 1970s cameras without autofocus and autowind.

Lenses: Although they are largely great lenses, I find them largely too clinical and in some cases, too contrasty. This isn’t always a bad thing since I am most likely to use them in winter when Ottawa is beset by dull light and oppressive cloud cover, modern higher-contrast coatings help give my photos more definition than life itself has during that season.

Canon EOS Kiss Lite

The EOS Kiss Lite (aka EOS Rebel K2, aka EOS 3000V) is my most recent acquisition and has one main set of responsibilities: to be simple, unobtrusive, and light. It succeeds in all of these. As a light and plastic camera from 2003, with batteries and the one EF lens I own, it weighs 570g and is great for walking around without being weighed down, but still produces lovely results. Costing me a modest $18, it’s more capable than so many compact cameras that cost many times what it does. It replaced a much heavier EOS Elan II, which recently suffered from a broken door latch.

Lens: I only own one EF lens and like most modern lenses, it lacks a certain charm that I am used to from the late-60s/early-70s lenses I usually use. Still, it meets my expectations overall.

Others (Honourable Mentions)

When I first got back into using film in 2020, the first camera I purchased was a Konica Autoreflex T3 with a Hexanon AR 50mm f/1.8. I later added a Hexar AR 135mm f/3.5 and a Vivitar Series 1 70-210mm f/3.5. While I do like the results I am able to get from the camera, without a working meter, the inconvenience external metering soon had me looking at other cameras. I still own the camera and every once-in-a-while use it.

Like so many children of the 1980s, the camera responsible for recording my first moments with a Canon AE-1 with its FD 50mm f/1.8. Although it is not the copy he used for it, when my Dad passed away in 2023, the only thing I wanted (and received) was the copy of that camera I purchased for him in 2020. I continued to use it until late last year when it began underexposing. I have a few other lenses for it, including an FDn 35-70mm zoom and a 70-210mm zoom.

Another earlier one, we have a few Pentax Spotmatics and SP1000s around. These ones are Kathleen’s favourites to use and, in addition to the M42 lenses I use with ES II above, we have an Opticam 35mm f/2.8, a lovely Super-Takumar 50mm f/1.8, and Alpex 135mm f/3.5.

120 (“Medium Format”)

Although it is not as frequently as 35mm, I use quite a lot of 120 film, commonly known as Medium Format. Between the greater resolution and interesting cameras, I’m never away for long, even if I do not own any SLRs or metered cameras that use this format.

Mamiya C220

I purchased the Mamiya C220 with a Mamiya-Sekor 8cm f/2.8 lens near the end of 2023 just after my Dad passed away. I was looking for a new TLR to replace the Yashica 635 that I retired at the end of 2022 for having a sticky shutter, which caused over-exposure.

The C220 was interesting to me as the only TLRs with interchangeable lenses and close focusing. While I still only have the one lens, in Spring the close focusing capabilities are really appreciated. The only real downside I have found is that it’s heavy: around four pounds.

Fujica G690BL

It’s too heavy for regular use (5lbs!) and now has a lazy rangefinder, but with its Fujinon-S 100mm f/3.5, the Fuji G690BL (also known to some as the “Texas Leica”) helps produce the sharpest photos of the cameras I own, on the largest negatives. Some of my favourite photos were made using this camera. I really should use it more than I do, but I am also not likely to.

Konica Pearl III-MX

I think I first learned about the Pearl from a Steve O’Nions video on Youtube and knew pretty quickly that it’s a camera I would love. My only 6×4.5, I love the results the mid-1950s Hexar gives me. Especially with colour film!

Yashica A

The Yashica A, a very simple TLR from the 1950s, was my very first TLR and I fell in love the moment I peered into the mirrored version the universe it presents. The very simple triplet lens can produce very sharp results and like most lenses of the 1950s, has distinct rendering that I find very pleasing.

Although it has been superseded by the Mamiya C220, I still bring it out on occasion.

Others

It seems that nearly everyone has a box Brownie or two around their house. Check under your pillow, you might too! I have a few of them, with one getting a little use on occasion, a No. 2 Model D from 1914. It’s almost my oldest, but that distinction goes to an Autographic No. 1 Jr., which I think is from 1913.

Although it has a sticky shutter (and I haven’t used it since November 2022), I have been reluctant to part ways with my Yashica 635. I will get it repaired some day!

Other Formats

The first camera I ever had to call my own was the Kodak Ektralite 10. If you were a child, mother, or only-sometimes-interested-in-photography grandparent in the 1980s, there is a good chance you might have had one too. A highly-simplified camera with a built-in flash, in keeping with Kodak’s tradition, it was inexpensive, ubiquitous, came in a distinct yellow box, and you could generate all the 4×6 prints you could manage.

I received it at Christmas …1986? 1987? I managed to fall instantly in love with it, but quickly found that my allowance ($2 every two weeks) would cover either a 110 cartridge or development. Not both. Since I loved using the camera so much, I exposed a few rolls, but ended up losing interest when prints were not forthcoming.

While it’s not the same copy I was given decades ago, I have a Trimlite Instamatic 18 and an Ektralite 10, which I use on occasion.

While I would love to try sheet film (4×5, 8×10, etc.), I am really uncomfortable using a tripod in public. The few times I have, I felt quite vulnerable, which resulted in anxiety and a less enjoyable experience.

Digital

I have to admit, I only purchased the camera in 2024 in a fruitless attempt to save a little money on film and development. Still, I do have a Nikon D300s that sometimes sees use. I chose that model because the price was right, the use experience would not be far off from my modern film SLRs, and that I could use the AF-D Nikkors I already own (listed above).

Since I don’t really enjoy “film vs. digital” debates in the way that some people seem to, I will just say that I don’t really like the photos that the sensor produces. More importantly, digital photos have never felt “real” to me, and that’s ultimately why I ended up with film in the end.

Sometimes a particular medium just speaks to us and satisfies something inside. I couldn’t give you much deeper reasons for why my favourite colour is purple or that I prefer coffee to tea either.

Film

Oh gosh, I like almost all films, really. I have yet to find one that doesn’t have a use case or at least situation where it does not positively sing. With that said, I have special places in my heart for some currently-made films.

Black and White Negative

Ilford FP4+, Kodak Tri-X, ORWO UN54 (also sold as Lomography Potsdam Kino), Eastman Double-X (5222), Kodak T-Max 100, Fuji Neopan Acros II, Fomapan 200, Ilford PanF+, and Ferrania P30.

I have used quite a lot of Ilford HP5+ and Delta 400 and Kodak T-Max 400, but for the most part, I prefer slower-to-medium speed black and white film to the faster films. Since Ottawa is cloudy as often as it is sunny (and I make photos often), a faster film is often necessary.

Colour Negative

Kodak ColourPlus, Gold (also packaged as Fuji 200), Ultramax (also packaged as Fuji 400), Kodak Ektar, Kodak Vision3 250D.

While I think that the Portra/Ektacolor series is really keen (especially in 160), I seldom use it due to the price as it relates to the results I feel I get from them. It might have something to do with ColorPlus and Gold having an almost otherworldly warm nostalgic glow. Especially for a woman of a certain age who’s father recorded her childhood on “whatever 100-speed Kodak was available” (i.e. Kodacolor II, VR, Royal Gold, Gold)

Slide

Realistically speaking, there is one option on the market: Kodak Ektachrome E100, which I do quite like and purchase.

Although Fuji “still manufactures” Velvia (50 and 100) and Provia 100F, I don’t believe they do. Along with other conspiracy-minded fans of Fuji’s slide films, I think they’re just Disney Vaulting their dwindling supplies and every Spring, we join in on continent-wide hunger games to pay $40-$50 per fresh-dated roll from shops that sell one per customer.

I certainly did this year: purchasing three fresh rolls of Provia 100F, but I also think this year will be the last.

Hopefully, anyway.

Discontinued Films

One of the most annoying things about returning to using film is that you know that the variety of films to try once felt almost limitless. This is slightly less anxiety-provoking than to know that whatever film you love today might just disappear from the shelves without warning at any time. Fuji’s disappearance from the shelves in the last three years or so is an example.

The most irritating part of it, at least to me, is some of the oldest codgers who insist that every film we use today is terrible and not-at-all like it was in the past. Of course, they’re usually the first to tell us we should be using digital too, so I don’t listen to them. While I see the differences between the pre-and-post-2012 Tri-X, I like today’s Tri-X just as much. Same goes for Acros I vs. Acros II.

With that all out of the way, there are definitely discontinued films that I would love to be able to use again, such as Kodak Panatomic-X and Plus-X, Fuji Superia Reala, Fuji Pro 160S and 400H (that one’s a recent discontinuation), Kodak Vericolor III (it’s basically Portra 160, but I liked its results better), and Agfa’s line of colour negative that disappeared on their bankruptcy in 2004.

Developers

It was one of the first things I wanted to do when I returned to using film in 2020: developing my own film. I even purchased the basic equipment to do so in 2021! Unfortunately, the first roll did not turn out and I put the equipment away in the hobby closet and forgot about it for three years. Then, in September 2024, after becoming frustrated with the results labs were sometimes giving me, I decided that I would try again.

I haven’t sent a roll out since.

While not quite to the same extent as some, since I found that one of the really fun parts of developing your own film is that there are so many developers available to try (especially black-and-white), I am often on the lookout for another novel developer.

Black and White

One thing that trying a variety of black-and-white developers has done is ruin me for finding a universal developer for all of my black-and-white. Instead, I have pairings that I have grown quite fond of.

  • Flic Film Black and White Cine Film Developer (D-96): I like to pair Flic’s version of D-96 with Eastman Double-X, ORWO UN54 / Lomography Potsdam Kino, and Ilford FP4+. It is also my second-favourite developer for Fomapan 100.
  • Kodak HC-110 [pdf] : A classic developer and one that is as close to a “does it all” that I have, HC-110 dilution E (1+47) is my favourite for Kodak Tri-X (dilution B if I’m pushing) and Ilford HP5+. If I’m using a less common film, there is a 99.5% chance that someone has identified timings for it.
  • Legacy Pro Mic-X: Legacy Pro’s dupe for Kodak’s discontinued Microdol-X (mainly intended for Panatomic-X). I found it too slow-acting for most films (20-25 minutes development cycles), but when diluted 1+1, I haven’t found anything that makes Fomapan 100 and Fomapan 200 look as good as they do in this chemistry.
  • Ilfotec DD-X [pdf]: Although I haven’t used it quite as often lately, I find DD-X to be quite a reliable developer that delivers pleasing results, especially with Ilford Delta 400.
  • Ilford ID-11: Ilford’s version of Kodak D-76, but available in 1L pouches instead of the 5L that Kodak insists on. At 1+1, it produces lovely results with a wide variety of films, including Kodak’s T-Max films.
  • Blazinal (Rodinal): Although and undeniable classic, I prefer to use Rodinal for slower films, like Ilford PanF+, and for some of the eastern films, like Astrum/Svema. I don’t stand develop often, but it has been what I reach for when I do.

Unfortunately, there are others I have tried that I just don’t get along with.

Finally, I have some developers on my shelf that I haven’t tried, but will soon!

  • Ilford Perceptol: I purchased this one specifically for Ilford’s PanF+ and Rollei RPX 25.
  • Ilford Microphen: I was interested in how it might help me in pushing film for those darker times.

Colour Negative

I have experience with three kits: Flic Film C-41 Pro, Flic Film C-41 Eco, and Flic Film ECN-2.

I did not have a great experience with the Eco Kit and I am new to the ECN-2 kit (having developed seven rolls of ECN-2 film and one C-41 using it), but I have developed many dozens of rolls in the Pro Kit and have found it to be very reliable.

I have CineStill’s Cs41 kit on my shelf, which was sent to be accidentally. While I have some reservations based on experiences sometimes reported by others, I will certainly make use of it and see whether or not I have a good experience with it myself.

Slide

It was dreams of developing my own slide film that got me interested in doing my own development in the first place. There are few places in Canada that do so, and many labs that offer the service actually use an external lab. When I was using lab services, this often meant that slide could take a month (or more) to come back to me.

In October 2025, I finally ginned up the courage to give it a try and it worked! I have only used one kit to develop slide so far: Unicolour Rapid E6.

Developing Equipment

I’m a very basic girl here and use a two-reel Paterson tank for all of my development. It works very well for me and has seen me through hundreds of rolls of film developed without difficulties, leaks, or complaints. If I do upgrade, it will be to a three-reel tank so that I may develop two 120 rolls at once.

Otherwise, I have a small collection of the basic necessities: 45ml, 600ml, and 1200ml graduated cylinders, a long thermometer, Paterson clips, an eye dropper (for wetting agent), and a large dark bag for transferring film from its spool or cartridge onto a reel.

Although some are comfortable taking the risk, I prefer to protect my hands throughout the development process and use blue examination gloves.

Scanning and Editing

I would love to learn darkroom printing. In fact, at one point, I was enrolled in a course at a local photography school to learn to do just that. Unfortunately, I enrolled during what would become a very busy season at work and ended up withdrawing. I will learn someday!

Since I do not do darkroom printing, part of my process is digitization. For this, I have two scanners: for 35mm, I use a Plustek 8200i which, while slow, has been quite reliable and gives me results that I like. I also have a caddy for 110 film I purchased from a seller on Etsy that is compatible with it.

For 120, I have an Epson Perfection V600. Although I like the results it is able to provide me with, it lacks the more adjustable film holders that the much-more-expensive series above it do, which may limit some of the results. I am aware of a man in the United States who manufactures compatible holders, but apparently, he went silent some time ago.

I use Silverfast 9 to do my scanning, and Apple Photos to edit and organize my scans. If you’re also curious about the computers I use for photo editing and for this website, please visit my page at lottiejoy.ca.