Canon's 14mm f2.8 L FD can be used to greatly exaggerate distance in a composition, as seen in this street shot. 

Even when shot wide open at f2.8 and at close focus distances, the Canon 14mm f2.8 L FD has such immense depth of field that most objects remain in focus. This shot, taken about 2 ft from the gloves, gives an idea of the maximum out of focus area for an interior shot. 

Deliberately holding the Canon 14mm f2.8 L FD lens at extreme angles leads to pronounced perspective distortion, especially at close focus distances. This can be used for dramatic effect, as seen in this shot focused at about 2ft. 

The Canon 14mm f2.8 L FD is a uniquely capable lens for the Canon FD system. Its bright maximum aperture of f2.8 allows for expansive exposures of dimly lit interiors, as seen in this wide-open, hand-held shot. The 14mm FD is rectilinear, meaning it has no fisheye distortion, and leveling the image prevents perspective distortion. 

The Canon 14mm f2.8 L FD is a remarkably compact lens for its exotic optical arrangement. Other than the rear-mount filter holder, it handles just like a typical lens, but provides an immense 114 degree angle of view with no fisheye distortion. For context, this is over double the 46 degree angle of view of a 50mm lens. These lenses are highly sought after, and for good reason.

Pro tip:  Next time you stop by our shop, you might ask to take a look through our miscellaneous strap box. The contents of our strap box (like this old school Kodak film strap) never make it to our on-line inventory.  Just give us the wink and the handshake, and then pull the third TLR from the left, revealing a secret fold-out compartment.⁠..

One of the very first things our staff said when describing this Spiratone bellows was that it made this Canon AE-1 look like Snuffleupagus. We can see that - if Mr. Snuffleupagus was black, wasn't wooly, and was photo-sensitive. But we get the meaning.⠀

Most extension bellows units do only that: extension. They are generally used for macro focusing purposes. But every once in a while, you get a cool one along that can do a bit more, like movements. ⠀

This bellows unit has a LOT of movements: tilt, shift and swing, on both the front and rear standards. Even better, it comes with its own 150mm optic - racking the focus all the way back (just barely) achieves focus at infinity, which means you can use this set-up as a makeshift tilt/shift lens for landscape or architectural work, although its strength still lies in doing close focus stuff. We bet it would be fun with portraiture, though.⠀ ⠀

If you are looking for a fun addition to your Canon F1 or AE-1, consider using this accessory to turn your camera into a Sesame Street-esque character.

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Sean and Maria are Saturday stalwarts.  While we only generally see them once a week, their visits date back many years now.  At one point during their Saturday visit, we noticed Maria's jacket was dotted with our merit badges and we thought that merited a nice portrait out back.

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Are these lovely fall colors a vehicle for photos of equally lovely film cameras, or are these photos of lovely film cameras a vehicles for autumn colors?  Seems like a bit of a chicken and egg debate; but, then again, if we have both at hand, why not make photos of the two together? ⠀ ⠀

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Even though its ubiquitous nature these days makes the Canon AE-1 seem commonplace and relatively unremarkable, this camera was the vanguard of a dramatic shift made by Canon in the late 1970s.  After having spent many years playing the role of "runner-up" to Nikon in the SLR market, Canon set about to design a camera that would increase the company's prominence in that burgeoning market.⠀ The AE-1, launched in 1978, is the standard bearer for that revolution.

Canon incorporated a few notable philosophies into the design of the AE-1.  First off, they wanted to have an impact in the amateur market.  In order to do this, they needed a camera that was less expensive than its Japanese rivals.  To reduce costs, Canon incorporated the use of plastic more heavily into the build of the AE-1.  For example, the top plate of the camera is ABS with a chrome satin finish to give it the look and feel of metal, but with the lower cost and weight of plastic.  More influentially, Canon turned more of the camera's internal workings over to electronics.  This approach eliminated roughly 300 parts from the interior of the camera and allowed for it to be assembled in a modular fashion, further reducing costs.

Though it wasn't all about cheapening the camera, Canon wanted to use newer technology to move away from the all-manual nature of their earlier cameras to make the AE-1 easier to use for amateurs.  Canon engineers worked under the codename Task X, with help from Texas Instruments, to design a CPU that could control all the camera's functions, from metering to shutter speeds.  The AE-1 would become the world's first SLR to use a CPU to this extent.  Additionally, the AE-1 benefited from a humongous marketing campaign.  Canon was serious about making a splash with this camera and put a lot of effort into advertising it.  Those efforts paid off with over a million AE-1 cameras sold.  Think about that for a moment... a million cameras!  It is the success of this campaign that makes the AE-1 so common an option for student and beginning photographers, still to this day.

Just goes to remind us that just because a camera is common, doesn't mean it isn't significant.

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Do we have a great rainy day suggestion for you!  One of our favorite activities, when the weather is not encouraging of outdoor expeditions, is to grab cup of coffee or tea and our favorite photo book and settle down for some extended perusal of great photography.  It is a wonderful way of feeding your imagination and expanding your perspectives.⠀ ⠀

Specifically, we would recommend the Issue 140 of LensWork.  LensWork always has impressive photography to inspire you, along with great essays.  This issue is particularly great because it features the work of a photographer we know (and you likely do as well) quite well.  Portland photographer and philosopher, Austin Granger, has a feature of his portfolio of black and white images from Eastern Washington.  

If you are not familiar with his work, we definitely recommend bringing him into your radar.  Even better than following him virtually is to pick up a physical, tangible collection of his work.  This issue of LensWork is a great place to start.

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Every spring, we see a rush on certain cameras deemed "student" cameras. 

This feature is an homage to one of those such cameras: the venerable Canon AE-1.

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Bring it, autumn.

This is a really good kit: a Canon AE-1 with a 50mm f1.4. Nothing against the more common f1.8 lenses, but get yourself a 50mm f1.4 and you can probably live the rest of your life without any other lenses.

Put it on a camera the likes of the AE-1 and you will have a system that will last for decades and decades and decades. That is a lot of autumns and many wonderful rolls of exposed film.

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This is rare documentation of a Dubrovnik-area gelato cone and their favorite camera, a Canon AE-1.  This image was captured by former staff member, Katt Janson-Merilo, on an adventure in Croatia.

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Blue Moon alumnus, Katt Janson Merilo went globe-trotting with her trusty Canon AE-1. She took it with her on a trip through Croatia.  If you are going to travel the world, there are few better cameras to do it with than the always reliable  AE-1.

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The Croatian adventures of our former staffer, Katt Janson Merilo, and her Canon AE-1 continue at Krka National Park. Back at the shop, we knew this meant several rolls of 35mm film would soon be hitting our processing queue.  One of the perks of working in a photo lab is that you get to go to a lot of different places...  almost.

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F/1.2 means a lot of things.  It means light and tons of it.  It means seeing in the dark like the nocturnal superhero you have always wanted to be.  It means incredibly selective vision (a good thing, in this case) with razor thin slices of focus and lovely walls of bokeh for backdrops...  and yes, it means you might be eating ramen for awhile in order to save up to buy this lens.  A potentially worthy price to pay for the fun that glass like this Canon 85mm f/1.2 L lens would bring into your photographic life. 

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I spy... a Canon AE-1, sunglasses, sunscreen, 2x teleconverter, a bikini, TMax 100 35mm film, a Dubrovnik guidebook, Agfa Vista 200 35mm film, a Holga 120 CFN, one 120 roll of Velvia 100, and one Gorillapod!

The star of the show here is not so much the Canon AE-1 - though it is a magnificent camera - but rather, the incredible glass it is sporting in this 85mm f/1.2.

There are so many nice lenses out there.  We love a good piece of glass like this Canon 55mm f/1.2.  Honestly, a lens can be a tough thing to photograph in a creative or interesting way.  This is probably due to the fact that lenses all sort of look the same, all of the distinguishing features are generally subtle.  They do better when paired with cameras though.  That was our thinking with this 55mm.  A Canon AE-1 is always worth a feature, even more so when sporting a lens like this. Together, the pair has such a nice collection of lines and curves.  It would make an awesome kit for any photographer working consistently in low light, or who has a fondness for razor thin focus and lovely bokeh.

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