The Ranga Model 3C Fountain Pen

It’s been a long time since I really used fountain pens in anger. Once upon a time I used to write a first draft with pen and paper and then type it up to create the second draft, but somewhere in the recent past I stopped writing with pen and ink and started doing everything on a laptop. Recently I’ve realised I spend far too many hours in front of a screen and it is time I started unplugging and spending more time in analogue pursuits.

I’ve long been a fan of fountain pens and they’ve been my preferred writing tool since I was a kid and so I dug out the last remnants of my greatly diminished collection. (There were only three survivors).

It was time to rebuild my collection and soon had a rather large wish-list. While watching review after review, one pen company stuck out more than others and that was an Indian company making hand made pens called Ranga. I’d heard of them before, but never paid much attention to them, until now. They have a large number of models, but the 3C was the one that appealed the most and the moment I saw the red, gold and blue Cracked Ice Acrylic, I knew that was the one for me. The ordering process was simple and not only was there a choice of acrylic, but the choice of clip and nib. Two weeks later it arrived – much quicker than expected.

The pen came boxed, wrapped in newspaper and then placed in a cloth bag and hand stitched, which I thought was a nice touch. Opening the box I was surprised by a cheap Jinhao 599A Lamy Safari clone which was included as a free extra (a very nice touch), along with an eyedropper. I can’t think of another pen company that treats the customer so well?

Of course, the packaging and the free pen are one thing, but if the main attraction is a disappointment then no amount of freebies is worth it. When I slid the pen from it’s plastic sleeve, I was very happy. My expectations were not only met, but exceeded, by a country mile. The resin is stunning with a not-quite-black base and flecks of red, amber gold and sky blue resin. Considering it is a handmade pen, the workmanship really shows. I believe the appropriate term is craftsmanship. The acrylic is well polished and brings out the colours. The top of the cap is a separate piece and you can just about feel the join. The clip is a nice design and has just the right amount of spring; not too stiff and not too light.

The pen has rounded ends, having a torpedo shape and is, what is now considered, a medium sized pen. Compared to something like a Parker Sonnet or Jotter, this is quite a substantial pen, however, it is lightweight and comfortable to write with. The grip is long enough that I can hold it without touching the threads, though the threads aren’t sharp. There is also no step down from the barrel to the section, which I prefer. At the end of the section is a flared end and the fingers sit nicely against it. Again, it’s just a well thought out design that adds to the writing comfort. The barrel and section threads are resin to resin with no metal parts, so the pen can be eye-droppered, and the section threads are already coated in silicon grease if you want to do that. The cap to section threads are also resin to resin, so no worries about the threads wearing out.

The pen comes with a huge choice of nibs and for this I went with a Jowo #6 steel nib in fine point, and being a German made nib it is true to a Western fine. The included Schmidt converter had water droplets in it – a sure sign the pen had been inked to test and tune the nib, which I like to see. Again, it shows a level of care for the final product that they do this and boy does it show when writing. The nib is silky smooth, probably the smoothest writing experience I’ve ever had. Really is a joy to write with, in fact it makes me want to pick it up and write. The nib is also wet,  helping the nib glide across the paper. Being fitted with a Jowo nib, the available options are extensive and also makes nib swaps easy, though I probably won’t be touching this nib as it writes perfectly for me.

Gallery

Dimensions and Specs

  • Make: Ranga
  • Model: 3C
  • Colour: Red, Gold and Blue Cracked Ice (Very similar to Leonardo’s Millefiori resin)
  • Length with Cap: 150mm
  • Length without Cap: 138mm
  • Length Posted: 183mm
  • Weight (with inked converter): 27gm
  • Barrel Diameter: 14mm
  • Section Diameter: 11mm-8mm

Wrapping up

I honestly can’t say enough good things about the Ranga 3C. A beautiful hand-made pen that provides the best writing experience I’ve ever had with a fountain pen. My only complaint is that now I want another one. I suppose there are worse problems to have 😉.

Canon nFD 35-70 f4 Review

The Canon nFD 35-70mm f4 lens

Vintage lenses are having a bit of a renaissance thanks to mirrorless cameras. Famous lenses like the Takumars and even old Nikon pre-Ai primes, are enjoying a resurgence in popularity, but no-one cares about vintage manual focus zooms. Right?

The Canon nFD 35-70 f4 is a cheap, unloved, forgotten zoom lens that can still be bought for around £50, but is it any good?

The specs

Canon’s 35-70mm f4 zoom is an FD mount lens of the nFD, or new FD, type, which just means it lost the fiddly breach lock mount in favour of a bayonet style mount. It was first sold in 1979. It has 8 elements in 8 groups and 6 aperture blades. Aperture ranges from f4 to f22 with half stops. Lens diameter of 63mm and an overall length of 84.5mm and weighs in at 315gm.

The filter thread is 52mm, but good luck getting a filter on and off, as the lens zooms in and out within an external tube which serves as a built in lens hood, which is probably why it comes with a push on lens cap.

The lens has a minimum focusing distance of 50cm and the focus throw from minimum distance to infinity is just under 180 degrees.

Build Quality and Feel

The build is plastic and feels a bit cheap. I would say it feels like most cheap zoom lenses of the eighties. The focus and zoom rings are light and not well damped, which doesn’t help the cheap feel, but the aperture ring has a firm feel with nice clicks with each half stop (much better than the aperture rings on their SSC primes which feel a bit flimsy). Safe to say, this isn’t as rugged as say a Nikon AI lens.

In its favour is the size and weight. This is a light and compact zoom lens, and given it has a constant F4 aperture, that’s not bad, even in the age of manual focus lenses. It gets a bit long when mounted on an adapter for a mirrorless camera, but its still a light and compact lens and nicely balanced on the Fujifilm X-T3.

In Use

I took it out to Hornsea beach back on New Years day and was pleasantly surprised not just at the quality of the images I was getting, but also how easy it was to focus. Not being well damped didn’t hinder the focusing at all. I usually prefer a longer throw to really nail focus, but at a whisper under 180 degrees, it was just about right.

And as mentioned earlier, the lens was nicely balanced on the X-T3. The zoom does extend when zooming and focusing, but you don’t notice it as the front element never protrudes beyond the front of the zoom ring/built in lens hood. It was actually very pleasant to use and I must admit, a little bit fun.

Image Quality

All images are straight of camera jpegs.

I was surprised at just how good the images look. It renders colours and contrast nicely and overall, the images look sharp and punchy when the light is good, but the lens tends to lose contrast when the light get’s a bit dull. Like other vintage lenses it loses contrast when shooting into the light, and there is flaring, though it seems to be well controlled.

I didn’t notice much in the way of chromatic aberrations, though I’m sure in the right situations, they will show up, as is the case with most vintage lenses. Thus far though, purple and green fringing look to be well controlled for a lens of this age.

Bokeh is okay. You’re going to get soap bubble bokeh balls at F4 and sun stars when stopped down, but on the whole, the fall-off is gentle and the out of focus areas are rendered nicely.

So Is It Worth It?

Overall, the lens was surprising good for the price. Obviously you’ll find these near the £100 because some sellers never miss an opportunity to rip people off, but you can find it under the £50 mark. So is this cheap little lens worth it? It’s not going to replicate the image quality, or bokeh, of fast primes like a 50mm f1.4, but I was really taken aback with how good the images looked. Considering you can get this for half the price of the nFD 50mm f1.4, (and let’s not even talk about how much you’d pay for a good condition 35mm), it’s a good value option if you want to start playing with vintage glass on a mirrorless camera.

Fujifilm X-E2 in 2021

So Fujifilm have just announced the much anticipated X-E4 to an admittedly mixed reception, so I thought it would be fun to take a look back at the X-E4’s grandad, the X-E2. (We could argue that the X-E2 is really the X-E4’s great grandad, but the X-E2s was really just a refresh rather than a significant update, and with firmware updates, there is really not much to distinguish them. The X-E2s is really more like a younger brother to the X-E2).

A quick look at the specs

The X-E2 was released in 2013 with an APS-C sized 16mp X-Trans ii CMOS sensor, and there are some that claim the second generation X-Trans sensor has the best colours compared to other generations. ISO range is from 200-25600. A 2.36 million dot EVF and a 3 inch 1.04 million dot LCD screen that is fixed. Maximum shutter speed range is from 30 seconds to 1/4000 sec.
It comes in at 350 grams and 129mm wide, 75mm tall and 37mm thick.The kit lens option was the excellent 18-55mm f2.8-4, which is the lens I paired it with when I owned it in 2014. This time I have it paired with the 16-50mm f3.5-5.6 OIS ii.

Choosing the X-E2

What drew me to the camera, and in fact to Fujifilm, were the aesthetics. Small and light with a rangefinder look, it was very different and new to me and I must admit, I loved it. I still think the X-E1/2/2S look is better than the X-E3/4, but that’s a personal thing. The X-E2, with its slightly longer stretch, just looks better to me.
The camera feels great straight out of the box and the lack of a substantial grip isn’t a problem like it is on the X-T3. That said, I do find a grip and thumb grip help, especially with zoom lenses. Plus the thumb grip helps prevent accidental knocking of the exposure compensation dial, which I was always doing.
I also like to add a soft shutter button. Back button focusing doesn’t feel as natural as it does on say the Sony A6000 series cameras, so a soft shutter button really helps nail that half shutter press, which I have a real problem finding without. (Maybe that’s just me though).

So it looks great. It feels great in the hand, but can a camera that is almost 8 years old now still give you good results in 2021?
Obviously, you can’t expect the same performance as a current model. There have been a lot of advances in the last 7 or 8 years around colour science, autofocus, video, noise, dynamic range, high ISO, etc., so you have to take these things into account, but if it was good enough back in 2014/2015 when I first owned it, surely it’s still going to produce good results now?

The results

My favourite film simulation in 2014 was ProNeg high contrast. It wasn’t quite the simulation of Pro400H, but it was close enough for my taste. I was so happy with the JPG images that I never really bothered processing the RAW files – I could never get them as good as the JPG’s anyway using SIlkypix. Thankfully, Fujifilm now use Capture 1 and I really like that software. You don’t get the film simulations in Capture 1 like you can for the 3rd and 4th generation XTrans cameras, so that’s something to keep in mind. The JPGs are still good though. Even now they still impress me, probably more than they do out of the X-T3. (All the images in this review are all straight out of camera with the ProNeg high film simulation or a tweaked monochrome film simulation. They have been re-sized for faster loading).

JPGs are great at 400 and 800 ISO. You do start to see some noise start to creep in at 1600 and there is quite a bit at 6400. Images keep their sharpness quite well in exchange for the noise.

So how do the colours compare to the X-T3?

Straight out of camera, you can see a very slight difference in the colours between the two. The X-T3 is slightly less saturated with the same settings, but there really isn’t much to it. I think the X-E2 just edges ahead in the JPG stakes.
As a photographic tool, the X-E2 is a wonderful experience. I never really used it as a video tool, but it will do 1080. I know Fujifilm always seemed to be criticized for its shoddy video – something they have addressed in later generations. I’ve attached a basic video – nothing special, but it’s okay.

In Conclusion

Ultimately though, the question was ‘can an 8 year old camera still deliver the goods in 2021?’I would say the answer is yes. Obviously, you lose some of the newer functions, the better quality at high ISO, faster auto-focus, but if I only had the X-E2 with me, and not the X-T3, then I would still be confident that the camera will deliver the goods.
The X-E2 sells for around £150-£200 without a lens and makes a great cheap entry into the Fujifilm eco-system. It also makes a good back-up body.
Go on. You know you want to 😉