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Breath of God
Photographers often revel in the serendipity of their craft, finding moments of accidental beauty that are captured forever through the lens. A prime example of this lies within my own portfolio, which is peppered with such fortunate instances.
On a notably warm afternoon in February, one that defied the typical chill of the season, I found myself walking near the First Baptist Church of Easley, SC. In the stillness of the day, something quite compelling caught my eye. The church’s cross, an enduring symbol of faith, stood tall and was adorned with royal cloth in preparation for the upcoming Easter celebrations. The rich fabric, against the backdrop of the church’s architecture, presented an intriguing visual treat, yet it was the absence of a dynamic element, like wind, that left the scene slightly wanting.
The Pentax Spotmatic F in my hands, a tool of analog precision, was married to the superb Takumar 50mm f/1.4 lens, widely acclaimed for its ability to render images with incredible sharpness and beautiful bokeh. However, it wasn’t just the technical excellence of this camera-lens duo that I depended upon to encapsulate the essence of the moment.
As fate would have it, as I was about to move past the church thinking the scene would remain static, a wind arose, almost on cue, breathing life into the scene before me. The royal cloth began to billow gracefully, and I instinctively turned towards the cross. With the sun casting just the right amount of light and warmth upon the scene, the wind’s sudden choreography imbued the image with a dynamic quality, elevating it from a mere still life to a vibrant tableau.
Seizing the moment, I pressed the shutter button with joyous anticipation. The Spotmatic F operated with a satisfying smoothness, the mechanical click of the shutter capturing more than just an image, but the culmination of absolute chance meeting preparedness. The photograph ultimately taken was not just a display of the camera’s capabilities or my own readiness as a photographer, but a testament to the unpredictable beauty that often accompanies the art of photography—a true happy accident that encapsulated the harmonious interplay between man, machine, and the divine.
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Sowing the Seed
Photography captures more than just images; it encapsulates moments of raw emotion, unveiling stories through the interplay of light, and time. The act of clicking the shutter is an affirmation of the photographer’s intent, a definitive selection of a single frame from the boundless flow of life.
Consider the potent significance of that solitary click—the pivotal heartbeat wherein the photographer and the captured moment converge in a silent conversation. “This one photo speaks volumes,” the artist muses; it’s an acknowledgment that the photo holds an essence that transcends the visual, striking a chord that resonates with the viewer’s innermost sentiments.
In this silent exchange between the observer and the observed, the photograph becomes a linguistic artifact. Its voice may whisper or shout, but the volume it speaks with is not one measured in decibels, but in affect..
As the image is revealed, developed, and shared, it begins a journey of interpretation and inspiration. Each viewer, drawn into the frame, becomes part of the unfolding narrative, extending the heartbeat of the captured moment to echo endlessly through the halls of human experience.
As I strolled through the quaint streets of the small town I’ve come to know as home, nestled in the Upstate of South Carolina, my gaze was drawn to a particular structure that stood as a testament to the past. It was an aging old bank that seemed to wear its history on its facade. The building was unmistakably a product of the 60’s architecture, characterized by its angular brick design. Such structures are commonplace in this part of town, each telling a story of the era they were erected in.
Despite its clear ongoing renovation, the exterior gave away the years of neglect. The reddish-brown bricks, once probably lively and inviting, were now dulled with a patina of decay—crumbling pointing between them told tales of the many years they had weathered. The signs of pollution had left their marks, etched into the surface in grime and soot. Acid rain had washed over the walls for decades, nibbling away at the solidity of the mortar, and with each passing year, the relentless tide of time had carved its impressions deeper into the once-pristine brickwork.
As I continued my walk, I couldn’t help but feel a pang of nostalgia mixed with a hopeful curiosity for the building’s future. The old bank, once a bustling hub of commerce, now stood quietly amidst more modern establishments, a relic of a bygone era awaiting its rebirth. It served as a stark reminder of the impermanence of man’s creations, standing defiantly against the inescapable march of time, awaiting the day it would once again stand proud and renewed, its decayed exterior merely a chapter of its enduring story. It reminded me that in every end, there’s the whisper of a new beginning, and I was witnessing a small piece of this town’s continual evolution.
As I neared the old, weathered wall that had always been a part of my daily route, something unusual caught my eye. It was a solitary weed, displaying a resilience that was both unexpected and beautiful, blooming with a delicate flower in the midst of the unforgiving brickwork. Its struggle for life against the rigid urban canvas captivated me.
Quickly, I reached for my beloved Pentax K1000, a camera that had become an extension of my own being. Equipped with my preferred Zenit Helios 44K-4 lens – a piece of glass famous for its swirly bokeh and the soulful images it produces – I framed the shot with a mindful respect for the weed’s tenacity. The viewfinder gave me connection between subject and artist as I adjusted the focus ring, the tactile sensation reminding me why I fell in love with photography in the first place.
With a click, the shutter closed for a fraction of a second, capturing not just an image but encapsulating a story of survival and beauty in adversity. I stood there for a moment, basking in the satisfaction that comes from knowing when you’ve caught a magic moment on film. This photograph, I sensed, would be a cherished addition to my personal collection, a reminder that even in the most unexpected places, there’s always something extraordinary to be discovered. I knew in that instant that I had something that I, at the very least, would love.
Even amongst the grot and grim of this old decrepit bank, new life emerges. God is everywhere and in everything we see. He is the Alpha and the Omega, the beginning and the end. This weed withered away, but for a short time it bloomed. Jesus’ parable about the sower and the seed is one of my favorites and I thought of it instantly, as I took this photograph. God speaks, if we listen.
Mark 4; 3-93 “Listen! Behold, a sower went out to sow. 4 And as he sowed, some seed fell along the path, and the birds came and devoured it. 5 Other seed fell on rocky ground, where it did not have much soil, and immediately it sprang up, since it had no depth of soil. 6 And zwhen the sun rose, it was scorched, and since it had no root, ait withered away. 7 Other seed fell among bthorns, and the thorns grew up and choked it, and it yielded no grain. 8 And other seeds fell into good soil and produced grain, growing up and increasing and yielding thirtyfold and sixtyfold and ca hundredfold.” 9 And he said, d“He who has ears to hear, let him hear.”
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Yashica Electro 35 GSN
For years, I have heard praises about the Yashica Electro 35! People have raved about its build quality and lens performance. About two months ago, my wife and I were speaking with a local estate agent about cameras. In the back room, he had two old cameras. He handed me two dusty camera cases with “Yashica” engraved on them. The first one was a Yashica EZ-Matic 126 Film Camera. While it was a good little camera, it wasn’t exactly what I had hoped for. However, the second case held the infamous and highly desirable Electro 35 GSN! Needless to say, I was ecstatic!
I brought them home, cleaned them up, and loaded a roll of Arista Edu Ultra 100 film into one of them along with fresh batteries. It took me a couple of weeks to thoroughly test it out. Every photograph came out perfectly exposed and tack sharp. The viewfinder was also very bright and clear. I have absolutely no complaints about this camera. It’s versatile enough for street photography or capturing those spontaneous family moments.
I enjoyed my time with this camera, but rangefinder shooting isn’t my preferred style. I already have another rangefinder camera, a Zeiss Ikon, which I will keep. However, this Yashica Electro 35 GSN is up for sale. It delivers sharp images and consistently accurate exposures. It even comes with the original lens cap and case! Take a look at some of the photographs I captured with it below.
Let me know if you need more information or if there’s anything else I can assist you with.
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Yashica MG-1 Test Photographs
These are a few of the test shots from the Yashica. I had a blast using it. The lens is sharp and the mint meter has dead on accurate.
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Minolta SR-7 Review
This beautiful camera was thrust onto the world stage in 1962, the decade of space exploration and scientific briefs that would set the world on fire. This beaut set the world on fire in its own way, it was the first 35mm SLR camera to have a built in Cds light meter. Up until this point, light meters were a required accessory to ensure the photographer was getting the best exposure for a scene or portrait. Light meters were in abundance. You could pick one up, along with your film, at your local pharmacist.
The Minolta SR-7, the Pentax Spotmatic, and Canon and Nikon variants killed the light meter for the mass market. Sekonic was the only real contender that survived, though that is a debatable subject. They are still highly sought after for professional photographs like myself and amateurs.
When this beautiful Minolta came into my possession, it was dirty, grimy, and not working. I cleaned the camera exterior, interior dried up grease, and cleaned the battery contacts. That is all it took to get it working again. After about thirty minutes of fiddling, I was ready to take it out for a test run.
The Minolta 58mm Rokkor-PF f/1.4 lens came on the camera. That was my main reason for purchasing it. It is such a sharp lens at f/1.4. It competes with new lenses. It may not have the anti flare coatings, but it is probably sharper due to not having all of those extra coatings that we may not need all the time. There is a gallery below with photographs from that first test roll of kentmere 100.
I took it downtown Easley near where I live. It is a different experience, looking down at the exposure meter before doing a final composition check and taking the shot. It slowed me down and made me think before taking the shot. It was enjoyable and everyone that passed me, enquired as to what kind of camera it is. It looks a bit alien, as it should being from the early 60’s. I thoroughly enjoyed shooting with this camera! If you have the time to go out and shoot, trying new angles and perspectives, pick up one of these on ebay or etsy and give it a try. You will not regret it, I haven’t. After all, it is historically important and should be appreciated and used.
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