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It's been a hot minute since we've talked about our own personal GAS. So the team sits down to share some of their new toys, lenses, cameras, film, and apps they've picked up so far this year. Cameras, Lenses, Plates, Films, Apps nothing is off the table. And of course, even with some lower GAS...it's always for now.

With everyone settled back in school, we decided it was time to hand out a bit of homework and have them do a summer book report. No, we didn't assign this task before the summer 'break', but let's go with the theme! On this episode, the team sits down and shares some of their favourite photo books (two each, since we love to talk). These books could be anything from pure photography and technical guides to group projects. The books on today are: The Camera, The Negative, The Print, Magnum Contact Sheets, The Canada Chronicle, Tao of Photography, The Disappearing Darkness, Photography through the Pandemic, Understanding Exposure, Learning to See Creatively, The Film Photography Handbook (3rd Edition), The Darkroom Cookbook, and a few others.

We're back on the topic of Infrared, this time with James, Alex, John and Bill! Infrared light is part of the electromagnetic spectrum, which includes the visible light spectrum, ranging from 380nm to 700nm, or violet to red. Most infrared photography uses specialised film and filters to capture light in the 700-900nm range. Today, we don't have dedicated IR films being newly produced like Kodak HIE, Efke IR820, or Konica Infrared 750, but we do have extended red-sensitive films that reach the near-IR range. These films include Rollei Retro 80s, Rollei Superpan 200, Rollei Infrared, Rollei Retro 400s and FPP Black & White Infrared. These films have sensitivities beyond 700nm and between 740 to 750nm. Pairing these films with a deep red (092/89b) or a true IR filter, such as a 093, RM90, or R72, will produce results typical of a traditional infrared film. Just make sure to spend the money and get a good quality one. The team also talks about working with colour IR film, such as Kodak EIR/Aerochrome and FPP Infrachrome, and how it uses standard coloured filters rather than specialised ones. Plus a bit of discussion about using IR techniques with digital cameras.

Alex is back for one last solo episode before getting back to our regular episodes, and this time he's live on location at Brock University. Alex recounts photographing the Collective2026 youth event hosted by the Presbyterian and United Churches of Canada back in August. During the event, Alex used a hybrid approach, combining his Nikon F5 and Rolleiflex 2.8F with the D750. He brought and used the gear, the films, and even shared some highlights from the photography workshop he ran at the event. You can find all of Alex's photos over on Flickr!

We love our advanced, top-of-the-line, high-quality cameras here on CCR. The Nikon F5 and F6, Rolleiflex, Hasselblad, and large-format cameras with multi-element lenses. But recently Alex has been digging into cameras that often are not what he typically uses and is loving the experience of keeping things simple and a bit of a juxtaposition from his usual kit. In today's episode, Alex sits down to talk about all the cameras that he's been using of late and how maybe if you're getting started in film photography, these cameras might be a better bang for your buck than the ones that everyone else is using and can be a bit of a pain on the wallet. The cameras include the Canon Demi EE17, Hanimex 35ES, RETO Snapic A1, Minolta Maxxum 5, Nikon F65, Ricoh XR10, RETO Ektar H35N, RETO Ultra-Wide & Slim, and whatever else comes to his mind.

Jess Beaudin first came to our attention when CBC posted an article about her use of natural materials to develop and print her photographs. So, of course, we wanted to get her on the show to talk about her work! Jess agreed and sat down with Alex to talk about anything and everything! You can find more of Jess' work online: Web: jessbeaudin.ca Facebook: facebook.com/profile.php?id=61570628757496 Instagram: instagram.com/jessbeaudinmedia

And we've made it to the end of the tetralogy, and we're going beyond the portrait length to talk about telephotos, which, for our purposes, are lenses that are 200mm and longer. These might not always be the first lens you reach for in your regular photography, but they are still powerful tools for events, nature, and even getting close when you can't do so safely. The lenses featured in today's show include the AI Nikkor 300mm f/4.5, AI-S Nikkor 200mm f/4, Leitz 180mm f/3.4 APO, Canon FD 300mm f/5.6, AI-S Nikkor 80-200mm f/4, Olympus 75-150mm f/4, AF Micro-Nikkor 200mm f/4, Vivtar 135mm f/2.8.

Before we get to long lenses, we're going into lenses that are designed for portraits, it doesn't matter if you're talking headshots, couples, quarter length, these are amazing lenses that are far more versatile than what they're called. Today's criteria are focal lengths between 70mm and 200mm, although 200mm is pushing it for some photographers, but it's our show, and we set the rules. The lenses featured in today's episode include the DC-Nikkor 105mm f/2D, AI-S Nikkor 85mm f/2, AI-S Nikkor 105mm f/2.5, Zuiko 100mm f/2.8, Takumar 85mm f/1.9, Canon 100mm f/2, AF-S Nikkor 85mm f/1.4G and AF-S Nikkor 70-200mm f/2.8G.

While everyone always associates the term "normal lens" with the 50mm focal length, here at CCR, we're going with more of a range between 28mm and 60mm. In reality, normal human vision ranges from 31mm to 43mm, which can be difficult to replicate with readily available lenses. So on today's episode, we're featuring the Pentax-M 40mm, AF Nikkor 35mm, Leica Summicron 50mm, AI-S Nikkor 28mm, Zuiko 35mm, Biotar 58mm, Yashinon 50mm, Takumar 55mm, Pentax-FA 31mm, Pentax-FA 43mm, and Voigtländer 58mm.

We're finally doing it, a full set of four episodes, a "tetralogy" all about lenses. In this first part, we're covering ultra-wide lenses. To help keep things ultra-wide, we're using the same criteria as Matt (from Matt Loves Cameras) and going with lenses that are 25mm or wider. Each host picked three ultra-wide lenses from their own kit. And we ended up with a fantastic set of optics, including the AF-S Nikkor 14-24mm, AI-s Nikkor 20mm, AI-s Nikkor 15mm, AF Nikkor 14mm f/2.8D, Maxxum AF 20mm, Auto-Miranda 25mm, Rokkor 24mm, Olympus Zuiko Auto-W 21mm, Leitz Super-Angulon 21mm, Voigtländer 12mm, Tamron 17mm and Carl Zeiss 21mm.

In today's episode, Alex sits down with Kevin Ealaín, the founder of Darkroast Arts, a name he chose after discovering the joys of working with Caffenol. Since then, he's expanded into photographing local events and protests, and into promoting the art of working in the traditional darkroom. The conversation goes from camera gear, darkroom practices, coffee, some politics, and a little bit of subject matter!  Web: https://www.darkroastarts.com/ Instagram: https://www.instagram.com/darkroastarts YouTube: https://www.youtube.com/@darkroastarts

We love hearing from members of the community as a whole, especially when they reach out to us to talk about life, photography, film and more. So in today's episode, join Alex as he sits down with Raf to talk about his journey from starting with photography to developing his own film at home. From Brazil to New York City, it's a couple of nerds just enjoying life, the process and more. And almost everything is covered, from music to scanning, gear, film stocks, halation and even film simulations! If you want to check out more of Raf's work, you can find him online here. SubStack: substack.com/@raflopes Instagram: www.instagram.com/rafalop.es/

Join John and Bill with special guest Jeff Greenstein of the smash hit I Dream of Cameras to talk about everything Leicaflex. Everyone connects the names Leitz and Leica with rangefinders, from the classic Barnack to the modern M-Series. And while that is what Leica is known for, they also saw that SLRs were becoming popular in the 1960s and decided to throw their hat into the ring. In 1964, they released the Leicaflex, an SLR based around their own R-Mount. The program dates back to 1955, when Ludwig Leitz was urged by Walther Benser to develop an SLR, as Benser believed SLRs would become popular. The Leicaflex was followed by the SL in 1968 and the SL2 in 1972. A technology-sharing partnership with Minolta in 1971 led to the introduction of the R-Series of Leicaflexes, starting with the Leica R3 in 1976. The R4 in 1980, the R5 in 1987, the R6 a year later, and then the R7. The 1990s brought a radical redesign of the R-Series with the R8 and R9. The entire series ended in 2009. The one thing to look out for is the R-Mount lenses; these come in several categories. One Cam lens works only with the original Leicaflex. Two Cam lenses are good for the SL and SL2. They will work on the R3, but you need to do stop-down metering. Three-Cam lenses are the cream of the crop, as they work flawlessly on the R3 through R9 and the SL/SL2. There's also the R-Cam for R3-R9 only, and the R-ROM for R8 & R9 only.

All Fujifilm, All the Time! We've been talking about doing a show dedicated to Fujifilm for a while now, and the time has finally arrived! While Fuji often catches flak for the number of product line cancellations, especially in the film world, they have maintained a core set of worthwhile products. Today's show, we're talking cameras, lenses, film, and chemistry. From the Texas Leica to Acros 100 II and Microfine. Plus, remembering some of the other products that we enjoyed that are no longer available. The whole team has something to add as we peek inside the massive secret freezer under Mount Fuji.

There's something to be said about OEM lenses with full compatibility, native mount support, and a high level of quality control. That all comes with a cost attached. Then there are third-party manufacturers: companies that often offer the same level of compatibility, quality control, and multiple lens mount options, but many don't carry a price tag as high as the original manufacturers'. So today, we have John and Bill, joined by Mario and Brian, to discuss all things third party, from classic Tokina, Tamron, and Sigma. Modern options from TTArtisans and 7Artisan lenses, and of course, Light Lens Labs, who are painstakingly creating modern, affordable versions of classic Leitz Optics.