Pentax 17 has taken analog photography to new heights
The new Pentax 17 is taking film photography to new heights.
Does the Pentax 17 signal a return to film photography?
The recent introduction of the Pentax 17 half-frame film camera has taken analog photography to new heights, reminding long-time photographers about the joys of past times and introducing a newer generation to the art of film photography.
For those still sitting on the fence about analog photography, there’s probably a film camera in a drawer somewhere just waiting for you to pull it out and relive the joys of cocking that film winder, hearing the clunk of a shutter and waiting with anticipation for your film to be returned.
An overhead view of the new Pentax 17.
For those who might only occasionally wander into the garden or take snapshots of the kids or grandkids, shooting film is not only still viable, it may be the easiest way to get actual pictures in your hand. Travellers and occasional snapshooters can take advantage of existing equipment to relive the joys of film photography or, if they are really serious, take a close look at the Pentax 17.
There has already been plenty written about Pentax’s new offering aimed primarily at the younger Instagram crowd who want to experience film and look cool doing it. An old camera around their necks – unless it’s a Leica – just might not cut it in the same way as having the handsome Pentax 17 in their hand. Add a vertical format and double the frames of a vintage 35mm camera and the New Pentax is looking pretty sweet.
Even for us “vintage” photographers, the nostalgia factor might be enough to give serious consideration to the well-built, and quite frankly sexy Pentax 17.
But there are options to get into this new analog trend, dare I say phenomenon.
I chose the other Pentax trend setter from years past – the Pentax Auto 110 – to hop on the trend.
Pentax’s other ground breaking film camera was released more than 40 years ago with an array of lenses, a winder and add on flash.
Pentax’s other innovative film camera the Auto 110
I recently took up the challenge with the Pentax Auto 110 system and a roll of B&W “Orca” film from Lomography. (For more on Lomography, check out their website at Lomography.com.)
In its time, the Pentax Auto 110 system was as innovative as the Pentax 17 is today. The miniaturized camera system complete with six interchangeable lenses, its own electronic winder and a flash, made this the talk of the town.
But, unlike so many digital cameras whose sensors and other critical electronics begin to fail, the Pentax Auto 110 still shoots the same 110 film it always has, but with modern scanners and software the results can be stunningly better than they were more than 20 years ago when the camera system was launched and grainy film was the norm.
(Of course in the true nature of film photography, real grain is a highly desirable addition to your images.)
Pentax Auto 110 vs Pentax 17
So how does the Pentax Auto 110 system compare to the newest film camera on the market, the Pentax 17.
I have yet to get my hands on a Pentax 17, but we can still make comparisons to provide some answers into the new world of analog photography. (An interesting aside is that the thumb winder on the Pentax 17 is actually based on the exquisite winder on the original Auto 110.)
A word of note: the Pentax 17 half-frame camera gives you 72 images on a 36 roll of 35mm film.
Negative size compared
Let’s start with the negative size. The 110 negative is 13mm x 17mm and the new half-frame Pentax 17 is 17mm x 24mm.
Advantage the new Pentax 17.
But wait, the significant advancements in scanning and photography software makes this advantage a little less important when it comes to the finished product whether that is a digital file or a print.
When it comes to lenses, the Pentax 17 boasts a modern 37mm equivalent lens that is said to create sharp, contrasty images with great colour. It does, however, depend on zone focus rather than manually focussing the lens.
The Auto 110 system, on the other hand, boasts a total of six lenses with the 18mm, 24mm, 50mm and exquisite 70mm being the showcase lenses for the system. Focusing these lenses is easy with the pentaprism and split screen focus technology. And all the lenses are excellent, highly rated f2.8 fast lenses that can even be used on more modern digital cameras with the proper adaptors. (For more on using Auto 110 lenses on the Pentax Q and Micro 4/3 lenses.)
Advantage Auto 110 system.
Garden statue at our local public garden.
Then there is the separate flash and winder for the 110 system which probably gives it a slight advantage over the new Pentax 17.
But, the Pentax 17’s outstanding looks, greater ability to control the final image with its exquisite over-under exposure dial on the top of the camera, its ability to set ISO on a separate dial and its modern functions enabling the user to set a wider f-stop to better control bokeh, are difficult to compete against.
These factors, along with other modern conveniences probably gives the new Pentax 17 the overall edge by what some would say is a healthy margin.
Exactly what you would expect from a comparison of 40-year-old technology vs modern technology.
But that does not mean the Auto 110 system is not still a viable option if you are looking to dive into the world of analog photography. And, of course, there are a myriad of used full-frame 35mm cameras in drawers, at on-line auctions, and on camera store shelves that are still viable options.
What can you get out of a Pentax Auto 110 together with modern scanners and advanced photography post-processing software? Let’s take a look at the first roll of film through the camera.
I am currently putting a role of color film through the Pentax 110 which will be followed by a Lomography specialized film. Stay tuned here for more reports on film results with the Pentax 110.
This image of backlit bullrushes shows the possibilities of pulling out detail even with the small negative size of the 110 film.
The Pentax Auto 110 and a roll of Orca B&W film
All of these Auto 110 images and those above in the post have been developed and scanned by The Darkroom and then processed with Lightroom Classic.
Let’s start with a few of my favourites from the roll of 24 images.
The above image of one of our historical buildings in town takes advantage of the vintage grainy look of the 110 film and the B&W captures that feel even further.
A garden scene turns its focus on the curves and textures in this B&W image photographed with the original 18 or 24mm Pentax 110 lens.
Trees in a cornfield stand out against the sky showing a significant amount of grain.
Our town hall seen through the Frame of a garden structure.
Another historical building is captured in B&W within the frame of a garden structure.
A fence line takes on the vintage look with the 110 film.
Film photography is not going away any time soon
Whether you think film photography is nothing more than a trend, or a movement that is not going away any time soon, most photographers will admit a certain love affair with the vintage look film can give to their images.
Sure, with a little work in Photoshop or Lightroom a quasi film-look is possible to obtain with digital images. But, it’s not the same as capturing the film look on film possibly with a vintage camera, or maybe even the new Pentax 17.
Shooting with the original Auto 110 with its excellent lenses is great fun. Developing 110 film is not so much fun because it can be expensive. The Pentax 17 solves the expense problem by using 35mm film.
If you already own an Auto 110 system, by all means get out and shoot with it. That fun experience might just lead you to the newest Pentax 17.
And that’s a good thing.
Author Profile: Vic MacBournie is a former journalist and author/owner of the award-winning website and newsletter Ferns & Feathers. He writes about his woodland wildlife garden that he has created over the past 25 years and enjoys sharing his garden photography with readers.