Would You Take a 50-Year-Old Camera on Holiday?

My answer is yes. But I’d want to know it worked before I packed it.

There’s something appealing about taking an old film camera somewhere new. A camera that might have photographed someone’s family holiday decades ago gets another trip, another roll of film and another set of memories.

That’s a big part of why I enjoy restoring cameras. Getting them clean, serviced and working again is satisfying. Knowing someone might take one out and enjoy it makes the work worthwhile.

Still, a holiday is meant to be enjoyable. Spending the first afternoon arguing with a jammed film advance probably wasn’t in the brochure.

Why I’d Pack an Old Camera

I use modern cameras and appreciate what they can do. But a film camera offers a different way of taking photographs, and I think that can suit a holiday rather well.

With a limited number of exposures, I’d be more inclined to pause before pressing the shutter. Is the light interesting? Would moving a few steps improve the picture? Do I really need another photograph of my lunch?

There’s also the pleasure of putting the camera away after taking a picture. No reviewing five versions of the same scene while everyone else walks off without you.

An old camera can make photography feel like part of the day. A walk through a market, an early morning by the harbour or a quiet street after dinner all become reasons to look a little more closely.

You don’t need to photograph everything to bring home something worth keeping.

Test It Before You Trust It

The age of a camera alone wouldn’t put me off. Its condition and how it behaves would matter much more.

Before taking a film camera away, I’d shoot a test roll and have it developed. That gives you useful information about exposure, focus, film transport and possible light leaks. Hearing the shutter fire is encouraging, but seeing the photographs tells you considerably more.

I’d also get comfortable loading, advancing and rewinding the film. Check the manual for any model-specific quirks, and make sure you understand the exposure controls.

Battery requirements deserve a check too. Some older cameras need a battery only for the meter, while others rely on one to operate the shutter. “It’s old, so it must be mechanical” is an assumption best avoided.

Any servicing or repair should happen with enough time left to test the camera afterwards. The departure lounge is a poor place to discover that something still isn’t right.

Take a Camera You’ll Enjoy Carrying

I like the Zenit E partly because it feels built like a tank. Whether I’d want that tank hanging from my shoulder throughout a hot afternoon is another question.

For a holiday, I’d think about the whole day rather than just the photographs. Will I be walking for hours? Is there room in the bag? Can I comfortably carry it alongside everything else?

My preference would be to keep things simple: one familiar camera, one useful lens and enough film for the photographs I actually expect to take.

Packing every lens “just in case” is tempting. Unfortunately, you still have to carry the case.

I’d choose a camera I felt comfortable using and looking after. If I were constantly worried about scratching it or losing it, I’d probably enjoy the trip less.

A Little Planning for the Film

I’d buy film before travelling, rather than rely on finding the right type at the destination. For an important trip, fresh film would be my choice. Experimenting with an unknown expired roll can wait for a day when the results matter less.

If you’re flying, airport security needs some planning. Kodak advises keeping unprocessed film out of checked luggage and requesting a hand inspection of film carried in hand luggage. CT scanners can damage film, including rolls you’ve already exposed but haven’t developed. Hand inspections aren’t guaranteed, so check with your departure, connection and return airports beforehand.

Putting the rolls together in a clear resealable bag makes them easier to present for inspection. I’d also aim to travel with the camera unloaded where practical, keeping the film separate.

Once away, I’d protect the film from heat and humidity. ILFORD specifically advises avoiding warm, humid storage conditions, so a hot car or a bag left baking in the sun would be poor choices.

The camera itself deserves sensible care around sand, sea spray and rain. A padded bag and a little attention go a long way. I’d change film somewhere sheltered, with clean, dry hands.

I’d Still Bring a Backup

Taking an old camera on holiday doesn’t have to become a test of loyalty to film.

I’d still have my phone or a digital camera available. They’re useful for quick photographs, difficult lighting and moments when there’s no time to adjust settings.

That would take the pressure off the film camera. I could enjoy using it without making it responsible for recording absolutely everything.

I’d also budget for processing when deciding how much film to take. Buying the rolls is only part of the cost, and the photographs still need developing when you get home.

So, Would I Do It?

Yes - with a tested camera, a manageable amount of equipment and a bit of preparation.

I wouldn’t expect a 50-year-old camera to behave like a modern one. I’d take it because I enjoyed using it and wanted to see what I could make with it.

For me, that’s the point of getting older cameras back into good working condition. They still have places to go and photographs to take.

A camera that has spent years in a cupboard could be perfectly suited to a few days exploring somewhere new.

I’d just put a roll through it before booking it a window seat.