Favorite Film Cameras: The Rikoh XR-7M (1989)

By the 1980s, the development of the SLR had advanced to produce solid cameras with a remarkable list of specs. Some companies lead the market by spending tons of money on commercials, magazine advertisements and endorsements, others sought to offer good value for money. Now that these bodies are affordable and collectable, it is fun to check out what different design concepts could achieve. The Rikoh XR-7M is one of the unsung heroes of the age.

Skinny parking garage. Kodak Pro Image 100.

Ricoh itself dates back to 1938. In the 1980s, their range of SLRs included beginner, advanced amateur and professional models. The XR-7M features aperture priority with full manual override. The shutter speeds range from 8 seconds to 1/2000. You can use any of the Pentax K-Mount lenses on this typical 1980s style camera body. It handles well and the body is sturdy and durable. Although constructed to last, it is lightweight and quite ergonomic to operate. What I like in particular is the easy multiple exposure switch and therefore the ability to produce in camera double, triple, and multiple exposures.

The Ricoh’s double exposure function tested with expired “Farbwelt 200” film.

Like many of these models, they get little love: They don’t have the cache of big brand names and often fly under the radar of collectors. Which makes it easier to acquire them at a decent price! I would recommend investing in a deal involving a few lenses and a bag, this will not set you back very much.

Overpass from below (Kodak Pro Image 100)

Bargain price, good ergonomics, and plenty of potential to experiment: now wonder I enjoy using the 1980s SLR’s! With demand and prices increasing, it is still fun to seek out affordable mechanical machinery from the “golden age”. However, some of the camera may soon reach their natural demise, so if you have them in your collection, take them out for a spin and enjoy them.

Ghostlike apparition (Agfa APX 400)
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The lenses (made in Japan) are suitably sharp. I like the film “look”, and I do think sharpness is overrated, just like bokeh. Although I like the testing of “new to me” camera, I also enjoy investing a bit more time in producing better images. It is indeed satisfying to experience the ability of these contraptions to capture an image at all, yet it gives me pleasure to add a little spice and push them to the limits. And although I do experiment with expired film, I think the best way to do the vintage cameras a service is to honor them with fresh film to bring out their full potential.

Layers (Fuji 200)

The Ricoh XR-7m is a great vintage SLR from the best age of SLR camera manufacturing. The company and this particular model seem to have been underrated throughout their life span. A real discovery. It is one of these camera bodies I have on my “grab and go” shelf – these are the no-nonsense, reliable film cameras that perform and do not get in the way. (I also have another shelf of “slow down” cameras – these are the mechanical masterpieces that have quirky features or unusual operations you have to keep in mind in the field – or look into the manual to find out about this mysterious switch).

Double vision (Farbwelt 200 expired)
Sculptural look (Agfa APX 400)

Link:

http://www.fotolaborinfo.de/foto/ricohkamera.htm#Ricoh_Kauf

Advertising Analog

The German magazine GEO started out in the late 1970s, combining environmental, cultural and social reportage essays with exclusive photography. The editors commissioned famous and soon-to-be-famous photographers to cover stories around the globe. Susan Maiselas, for example, shot a story about the Sandinista revolution in Nicaragua. I found a few stacks from the late 1970s and early 1980s in pristine condition when a neighbor emptied their basement. Has the coverage stood the test of time? The essays vary in quality, and the tone of the writing often reminds us today of the stereotypes and misunderstandings of a bygone era. But in many ways, the curiosity about the world runs like a thread through the pages. The customs of an African people was as exotic as the way of life of the Japanese. But the reporters also examined the strange attitude and behavior of German Schuetzenvereine (shooting clubs).

Not surprisingly, some photography companies regularly supported the magazine by purchasing ad space. Canon was a regular, but also Minolta and Pentax. Kodak and Agfa battled it out for their latest emulsions. Leitz only advertised their range of binoculars. Here is a sample of the ads, with plenty of text to underscore the technological advances.

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From the pages of GEO magazine