A sad anniversary passed quietly the weekend before last. It’s been a year since our son, Jeff, lost his wife, Mariah.
They had been married but a short time when she died. But it was clear that they were the love of each others’ lives.
We’ve all grieved this loss in our own ways over the past year. It crushed Jeff. It was also especially hard for my wife and our daughter, who had close relationships with Mariah.
I had been slow to get to know Mariah, so for me her death was primarily a deep shock. But it was a shock too far, after a year (at the time) of serious life challenges for our family. It sapped me of all energy for months. It reduced my attentiveness and effectiveness at work. While they didn’t tell me why they fired me, this could have contributed.
Jeff wound up moving back in with us while he got his life together, but now he’s ready to fly free again. It seemed almost perfect when our tenant abruptly moved out of our rental house in January. We would paint, replace carpet, and do some needed repairs, and Jeff would then rent it from us.
We’ve discovered some serious problems with the house, which I’ll write about on Wednesday. They threaten to delay or derail the plan.
We had hoped the house would be ready in time for Jeff to welcome his new daughter into the world. Yes, that’s right, Jeff is going to be a dad, and I’ll have my first grandchild. This wasn’t a planned pregnancy but this little girl is very much wanted and will be deeply loved. She should arrive in late May.
It’s a great big beautiful wonderful incredible super spectacular day, because I’ve digested this week’s best blog posts for you!
💻 If you are a leader, or even a parent, sometimes you have to hold your people accountable to their responsibilities. Dave Bailey offers a useful heuristic for how to do this: the accountability dial, which offers five levels of heat. He writes for startup executives but you can learn from him too. ReadHow to Manage a Team of Owners
💻 This post is deeply interesting to me because in the five years before taking my current job I worked for startup software companies and was granted stock options. They always felt like a lottery ticket to me, but I couldn’t fully explain why. All I know is that I never made much money on them. Steve Blank explains why in great detail. ReadStartup Stock Options — Why A Good Deal Has Gone Bad
📷 I’ve followed N. S. Palmer‘s writings on society and belief systems for years and feel he’s really hit his stride. He draws you in like you’re an old friend, and then uses that as a platform to introduce challenging new ideas. His latest post is a great example. ReadHow To Be Crazy — Constructively
📷 Peggy Anne reviews the Ricoh KR-10, a circa 1980 35mm SLR that mounts all of your Pentax K-mount lenses. These Ricohs are good performers, if basic in features, and are solid bargains on the used market. ReadRicoh KR-10
I own more Nikon SLR bodies than I can possibly use, but each one of them offers its own wonderful characteristics. Also, many of them were gifts to the Jim Grey Home for Wayward Cameras, and remembering the gift-giver makes it hard to want to say to goodbye.
This Nikon FA is the body I received most recently, and I’d shot just one roll through it. I liked it for its compact size and excellent capability. Here’s a photo from that roll, which was Fomapan 200, through my 50mm f/1.8 Nikon Series E lens.
The FA is part of the FE/FM/FA family of semi-pro 35mm SLRs that Nikon introduced to replace its Nikkormat line. The FA was last to the party, introduced in 1983 as a technological tour-de-force. It is the world’s first camera with matrix metering, which Nikon called automatic multi-pattern (AMP) metering. I believe it is also the first Nikon SLR to offer programmed autoexposure, setting both aperture and shutter speed. It also offers aperture- and shutter-priority autoexposure and manual exposure.
The FA is also small and lightweight compared to Nikon’s flagship cameras like the F2 and F3. That makes it great for a long weekend of shooting, as when my wife and I recently visited bourbon country in Kentucky. I started with Arista EDU 200 on board, which is rebranded Fomapan 200.
My 35-70mm f/3.3-4.5 AI-s Zoom Nikkor lens was mounted. Ken Rockwell calls this one of Nikon’s 10 worst lenses ever, but except for noticeable barrel distortion at the wide end I like it. I use it like three primes: 35mm, 50mm, and 70mm, all of which are marked on the barrel so I can dial them right in. For that convenience I’m happy to spend a little time correcting distortion in Photoshop. The photos above and below are from the Maker’s Mark Distillery near Loretto, KY.
I shot in program mode at first, but the in-viewfinder display kept telling me 1/250 sec. and I wondered whether something was amiss. I switched to aperture-priority mode after that. But every photo I made came back properly exposed. Perhaps the FA’s program mode just biases toward midrange shutter speeds. This photo is of the spring house at My Old Kentucky Home State Park in Bardstown.
I blew through the Arista EDU in a day and switched to Agfa Vista 200 for the rest of the trip. In challenging late-afternoon light the FA did a good job of exposing so the Talbott Inn in Bardstown wasn’t lost in the shadows. This tavern and hotel has been operating since 1779.
Bardstown is charming, especially for people like Margaret and me who like old houses. We walked around town a lot just photographing homes and buildings.
I have one peeve with the FA, and I became more and more annoyed with it as the weekend rolled on. To meter, you have to pull the winding lever out to its first stop. With the camera at my eye, that lever poked right into my forehead. I wished for a different way to activate the meter. Also, my FA has a strange fault: the mechanism that prevents you from winding past an unexposed frame is broken. Otherwise, the FA performed well. Its size, weight, and feature set make it a great everyday manual-focus SLR.
The 35-70 zoom also includes a macro mode. What a versatile lens this is.
It’s taken me most of the last 10+ years of collecting and using old cameras to internalize that the lens is the critical component of any camera. But I do believe the FA’s matrix metering made a real difference in mixed and challenging light. My beloved Pentax ME would likely not have done as nuanced a job exposing this mid-evening light.
We drove out to Bernheim Forest on our trip to see the giants, these wooden sculptures just completed by artist Thomas Dambo. I’m sure I’ll do a whole post about them soon. Light reflecting off the smooth wooden surfaces made for a challenging exposure situation, with lots of bright and dark areas. I had to tone down highlights in Photoshop.
The FA’s 1/4000 sec. top shutter speed lets me blur the background in dimmer light, compared to my 1/1000 sec. Pentax ME.
Let’s take an inventory of my manual-focus Nikon SLR bodies.
I’m not getting rid of my two Nikon F2s or my Nikon F3, no sir, nuh uh. I own two Nikkormats, an FTn that’s big and heavy like the F2, and an EL which is smaller and lighter like this FA. I also own an N2000.
The Nikkormats will have their turns in Operation Thin the Herd soon. But I don’t see me keeping either of them over my F2s and F3.
When the N2000 had its turn in Operation Thin the Herd (here) I decided to keep it. I travel with it, as if it is damaged, lost, or stolen, replacements can be had for as little as $20. And I just plain like it.
A working FA costs at least $100, but it’s a far more capable and sensitive performer than the N2000.
On this Kentucky trip either camera would have been fine, though the FA nailed exposure in some of these shots where the N2000 would probably have only done okay.
It comes down to this: The Nikon FA’s wind lever pokes me in the forehead. It’s really annoying.
It’s hard to know exactly where your bourbon comes from. Sure, the label gives you a brand name and maybe even a distilling company. But only bonded bourbons are required by law to tell the truth about origin on the label. Otherwise, a bourbon’s label can craft any origin story it wants.
For several years my favorite bourbon by far has been Willett’s Pot Still Reserve. Its distinctive bottle is fashioned to look like a pot still.
I leave it to the pros and serious enthusiasts to describe bourbon flavors. One I found on the Web used words like citrus, caramel, pepper, and dry oak to describe this bourbon. All I know is that its deliciously interesting complexity keeps me sipping.
That’s probably why the one photo I have is of an empty bottle. It doesn’t help that this bourbon isn’t always available. When I find some, I buy it — and drink it.
Willett also issues special single-barrel and small-batch bourbons and ryes under their Willett Family Estate label. They’re hard to find and they’re expensive, but they are the most delicious bourbons and ryes I’ve ever enjoyed. I usually find rye to be too spicy and to burn too much. But the most delicious, most interesting whiskey I’ve ever sipped was Willett Family Estate Rye. It was the closest I’ve come to a religious whiskey experience. I will buy any bottle that says Willett on the label.
What I learned only after touring the Willett distillery in March is that until about 2016, all of the amazing Willett whiskeys I’d ever sipped were distilled by rival Heaven Hill Distilleries using Heaven Hill mash bills. From the early 1980s until 2012, Willett distilled no spirits. They merely aged the Heaven Hill-sourced whiskeys in their warehouses.
Nothing against Heaven Hill, which produces some delicious whiskeys. I just didn’t enjoy feeling duped. Maybe it’s unrealistic, but I assume the company on the label distilled, aged, and bottled the brown liquid inside. Not that this sly deception will keep me from enjoying their whiskeys, all now distilled on the Willett premises from Willett mash bills.
Here it is, Willett’s pot still. Notice to the similarity to my photographed bottle.
And their fermenting tanks.
And a couple of their rickhouses, where barrels of whiskey are left to age.
On this March morning this rickhouse was cool and dark.
A fun quirk of the Willett distillery is that three cats roam the grounds to keep mice away. This one is named Noah, I think.
The distillery is in the midst of transforming its campus to offer more amenities to bourbon tourists. They’ll soon have a B&B and a restaurant to offer.
But the rickhouses…they’ll always look like prison barracks. Hardly tourist-tempting.
I’ve extensively revised my review of the Nikon F2AS, one of the finest, if not the finest, mechanical 35mm SLR ever made. This is a go-to camera for me; I’ve put a lot of film through it. It’s a truly great camera. See my review here.