Still more 35mm color scans from ScanGear on the Canon CanoScan 9000F Mark II

Lab scans of 35mm color negatives are miracles. Any lab I routinely use reliably sends me crackerjack digital images.

Getting usable scans from my CanoScan 9000F Mark II via its ScanGear software, on the other hand, is a lot of work involving a number of subjective choices in scanning and post-processing.

I used to think that the colors I got back from the lab were the film’s true colors. I see now how much of that is in the scanner settings, and that I don’t actually know how any film I typically use renders color.

The improvements I made this time were to scan to lossless TIFF files, and to turn off ScanGear’s Image Adjustment setting (which I had overlooked when turning off all the other image-enhancement settings). It helped? I think?

Here’s my scan of a photo I made on Kodak Gold 200 with my Olympus OM-1 and a 50mm f/3.5 Zuiko Auto Macro lens. There’s a little of that mottling in the blue sky that I keep trying to prevent. But it’s not as bad as in previous scans.

Roberts Camera scanned this film when I had them process it. It’s a touch brighter than my scan. The sky has a slight turquoise tint and lacks any mottling. Otherwise, either scan is fine.

Here’s my scan of a butterfly pausing over this flower. Notice how purple the flowers in the background are.

Roberts made those same flowers quite pink, but brought out the detail lurking in the butterfly’s wings.

I also tried scanning some Kodak Ektar 100 I shot in my Pentax Spotmatic F with a 35mm f/3.5 SMC Takumar lens.

Here’s Robert’s Camera’s scan. They got richer colors than I did, although I’d say the sky in mine looks more realistic. The green tint on the right edge of my scan is clearly an artifact of the negative that Robert’s somehow edited out.

I walked over to the building to make this close shot. My scan:

Roberts Camera’s scan got a richer red, but my scan offers better highlight detail.

It was so much easier when I accepted whatever color I got from my lab scans, as if they were the final word on film and lens. Now I’m suspicious of every scan, because of all the choices it represents. Is it possible that the only way to truly know what colors are in a negative is to make a darkroom print?

This, by the way, is the last in this series of experiments. I’ve learned what I need to. I get good enough black-and-white scans now to start processing and scanning black-and-white film, which was my goal. Now that I work Downtown in Indianapolis, eight blocks from Roberts Camera and their C41 lab, I’m likely to have them process and scan my 35mm color negative film. They charge just $10.

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Previously unpublished photos from my Kodak Pony 135

I have been feeling burned out lately. I’m settling into my new job okay, but there’s a lot to it and I still have a lot to learn, and that’s stressful. Also, we’ve been working on a rental house we own, painting and laying new flooring, after our longtime tenant abruptly moved out. I’ve left Margaret and a couple of her sons holding most of the bag there, as I just don’t have it in me to devote my weekends to the place. I urgently need downtime.

Except for a little noodling around with my Canon PowerShot S80 and a recent long-weekend trip to bourbon country in Kentucky with my Nikon FA, I haven’t been making many photographs. My blog doesn’t depend entirely on fresh photographs because of the stories and essays I write. But being burned out, I haven’t had anything to say.

I’ve been updating all of my camera reviews. They drive a great deal of search traffic to my blog, and are therefore my blog’s calling cards to the world. Especially on my older reviews, I wanted to make the text more compelling and reprocess the photographs using the tools and skills I didn’t have then but have now. It’s been a nice little project, one that gives me feelings of satisfaction and accomplishment with little mental strain.

In updating my review of the Kodak Pony 135 I discovered that I only uploaded to Flickr about half of the usable photographs from the two rolls of film I shot. I use “usable” broadly as my Pony 135 suffered from a wicked light leak that affected nearly every photograph. But today I find the effect to have a certain charm, and on many photographs it doesn’t detract all that much from the subjects or the great color and sharpness the Pony’s lens captured on Fujicolor 200.

I walked through my neighborhood with the Pony in my hand and captured some of my neighbors’ homes.

Almost every house in the neighborhood was faced in brick all around. This was pretty common for 1950s-1960s suburban homes in Indianapolis. Today’s suburban homes tend to be wrapped in vinyl siding. Having now lived in both kinds of houses, I prefer the brick.

The houses on every corner were duplexes, while all the ones in between were built for single families. This is one of the corner houses. The green Mustang parked in this carport only for a few weeks before it disappeared.

I’m pretty sure I had Walgreens process and scan these. The store near my home still had a one-hour lab in 2011.

Sometimes I look at one of my old photographs and wonder why I shot it. This is one of those photographs. I’m not sure what I thought the subject was. Yet somehow it pleases me today.

I’d had my blue Matrix just a couple years in 2011. It still looked pretty good. In the years that followed its paint chipped off, faded, and went chalky on pretty much every panel. When I sold it last year it was the worst-looking car I ever owned. Still, I miss it and would have another Matrix. I could carry so much stuff in its wayback, especially with the back seat folded down.

I used to work near the Monon Trail, a former rail line converted into a pedestrian trail. Where the trail runs under Interstate 465 there’s a small parking lot and a restroom. These benches give hikers and bikers a place to rest for a minute.

I’m sure these restrooms are welcome sight for people who travel the 20-mile length of this trail.

I liked using the Kodak Pony 135. I thought I’d try to fix that light leak. Degraded light seals are a usual culprit of leaking light in old cameras, but the Pony 135 seals light using deep channels where the door attaches to the body. There’s nothing to replace. Then a Kodak Pony 135, Model C, fell into my hands. It didn’t leak light, and its wider lens (44mm vs. the original Pony 135’s 51mm) was more useful for the kind of walking-around photography I do. So that’s the Pony I kept.

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Collecting Cameras

Operation Thin the Herd: Minolta AF-Sv (Talker)

Meet the camera that scolds you. Check distance! Too dark, use flash! Load film! It’s the Minolta Talker, aka the Minolta AF-Sv.

This camera came to me from the father of an old friend. He sent me his entire collection, and this was in it. I didn’t expect much from it, but on a sunny summer day Fujicolor 200 delivered slightly underexposed but soulful results.

As a result I’ve been looking forward to this camera’s turn in Operation Thin the Herd. When that turn came it was late November and early December, and the days were dismally gray. The voice in my heart said, “It’ll be fine! Great pics ahead!” while the voice in my head said, “This isn’t going to work out well.” I loaded Fujifilm Superia X-tra 400, thinking I’d need the extra exposure margin. Even so, this camera underexposed consistently, to muddy and mottled result. I should listen to my head more.

Let’s get it out of the way right now: that the camera talks is a useless gimmick. “Too dark, use flash” is all I can get mine to say, and that message would be more effective as a beep or a light. I shut the voice off. Speaking of flash, I’m not sure the one on my Talker works.

The camera does work all right inside with enough ambient light, though. This was our Thanksgiving table. The china is Rosenthal from Germany and has been in my mother’s family for three generations. The purple water goblets are from Walmart, because this family knows better than to be too uppity.

The AF-Sv handled all right. It’s a chunky camera so it doesn’t fit satisfyingly into the hand. But it’s easy enough to frame in the big viewfinder and the shutter button is where my finger expected it to be. It slipped right into my winter coat’s big front pocket. I had appointments all over town and up in Lafayette, and it went along on all of them.

I did get about thirty minutes of sunshine in Lafayette, and it made all the difference to this camera. I had bright light when I shot the church door that leads this post, too. The shot below shows the sharpness this lens can deliver.

Every last photo needed a hit of Auto Tone in Photoshop to be true to color though — especially shots I made on a drizzly day in Downtown Indianapolis. Here’s where an auto-everything point-and-shoot shines: this ’70s truck came along and I was able to capture it lightning fast.

Lesson learned, though: shoot this camera on a sunny day, and overexpose by a full stop. The only way to do that on this camera is to dial in the appropriate ISO to get that net result, such as ISO 200 for ISO 400 film. The ISO dial is around the lens.

This camera also struggled to focus close in anything other than great light. I wanted the fellow in front of this strange sports sculpture to be the subject. He’s farther away than the camera’s close-focus limit.

To see more from this camera, check out my Minolta AF-Sv (Talker) gallery.

I was disappointed in how this camera performed on this outing. Maybe I expected too much of it. It’s got to be hard to make an auto-everything point-and-shoot that gets everything right every time. But I can’t imagine shooting this camera ever again.

Verdict: Goodbye

Collecting Cameras

Operation Thin the Herd: Pentax KM

One of my oldest friends sold me this Pentax KM. His father bought it new in 1976, the year Pentax introduced it and the famous K lens mount. In the 1980s the camera passed down to my friend; somewhere around here I have at least one college-days photo of him using it. I’m very happy to be this camera’s steward today.

I never fail with this camera. Really. It’s almost magic. According to my notes I shot this tulip with the 28mm f/2.8 SMC Pentax-M lens on Fujicolor 200. I don’t like that lens at all but just look at how lovely it rendered here.

Most of the time I shoot the lens that came with this camera, the 55mm f/1.8 SMC Pentax. It is almost certainly a K-mount version of the sublime 55/1.8 Takumar from Pentax’s earlier screw-mount cameras. This lens never misses. It’s just wonderful.

I took this kit and a roll of T-Max 400 to Purdue for an afternoon with my son. He brought his K1000 along; we spent the afternoon taking pictures. Goodness, was that ever wonderful to me. A fast-ish lens with fast-ish film and my generally steady hand let me do reasonable work indoors. Above, the Stewart Center; below, the Purdue Memorial Union.

This is a shot from a library inside Stewart Center. I was surprised that they still follow the Dewey Decimal System, which I thought was passé among libraries today.

This is Spitzer Court, with Cary Quad in the background. Damion lives in Cary. It’s very stately. We walked around inside a little bit and its common areas have this very 1890s feel. When you look past the modern pressboard furniture in those rooms, you can almost imagine young bejacketed pipe-smoking men sitting about in high-backed chairs at mahogany tables.

You’ll also find plenty of modern architecture at Purdue, like Hampton Hall.

Damion’s buddy runs the ham radio club, so we got a tour. I just love old electronic gear. Just dig that great typography on that meter.

They could have just printed “µA” on the meter on the right, but they went all the way and spelled it out in a sober typeface. The space between the letters lends such gravity, such certainty. You may rest assured in this meter’s reading.

Okay, this has been more about my day at Purdue than about the Pentax KM. Let me reel this back in: this camera performed flawlessly. And perhaps I’m blinded by my love for Pentax gear but I found this camera to be perfectly unobtrusive as I used it. I framed, matched the needle for exposure, focused, and shot my way through this roll in no time flat. I wished I’d brought another roll of T-Max.

After our long photo walk we walked over to a favorite pub for dinner. I sat the KM on the table, strap dangling. As we got up to leave and I picked up the KM, the strap caught on the table corner and the camera tore from my hand. It landed on the stone tile floor with a sickening splat. The corner of the bottom plate was dented and the UV filter on the lens shattered. Something must have bent slightly on the lens mount, as the aperture ring on any mounted lens now turns clockwise with difficulty. Some steward I am.

To see more from this camera, check out my Pentax KM gallery.

My Pentax KM has been such a never-miss, sure-fire performer that I simply must get it fixed. I’m just very sad that I damaged this like-new camera.

Verdict: Keep

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Camera Reviews

Operation Thin the Herd: Olympus OM-1

Why have I not used my Olympus OM-1 more? This is such a wonderful camera — compact, precise, capable. It sparked the SLR fever that has so heavily influenced my collection. Could my subsequent SLR promiscuity simply have kept me from loving this camera fully?

Probably. But I also know I’ve hedged on using it because I never got used to setting shutter speed on the lens barrel. What a wealth of great gear I have that this one little thing led me to favor other SLRs. But really, this is my only gripe. The OM-1 otherwise feels like a luxury item in my hands. Everything about this camera oozes excellence.

I own two OM-1 bodies, this minty silver-topped body (review here) and a slightly worn all-black body (review here). I made the above shot with the silver top on Kodak BW400CN, and the shot below with the black top on Fujicolor 200, both with the 50mm f/1.8 F.Zuiko lens.

While I shot the silver-topped one this time, I’m including both bodies in this evaluation. They both stay or they both go. These cameras came to me with a bunch of lenses from the father of a dear friend, and I want his whole kit to be a single unit. With that, I mounted the close-focusing 50mm f/3.5 Zuiko Auto Macro lens that came with the kit, dropped in some Kodak Gold 200, and went looking for little flowers to shoot. I don’t know why this little blue chicory flower came out purple, but I don’t care, I love the photo.

I made these photos as summer was ending. There were plenty of little flowers left to photograph.

I even moved in close to this railroad spike on some abandoned tracks. I love the colors this lens picked up in the blurred background. I’m not sure my Pentax or Nikon lenses would have seen them.

You can use a macro lens for normal work, too. This one acquitted itself well.

The 50/1.8 and the 50/3.5 Auto Macro were the only Olympus Zuiko lenses in the kit. He also owned a 70-150mm f/3.8 Vivitar Close Focusing Auto Zoom, a 100mm f/4 Portragon, and a big 500mm f/8 Spiratone Mintel-M mirror lens. I’d never shot some of these lenses, so I tried them this time on a roll of Fujifilm Superia X-tra 400. First, here’s a big green highway sign that is about a half mile away from where I was standing. I had to put the camera on a tripod to steady it enough for this shot, which shows the 500mm Spiratone’s resolving power. Which is only okay, by the way. But in its day it was an inexpensive way to get a long lens.

Spiratone was a mail-order house for inexpensive photographic accessories. The 100mm Portragon lens is also a Spiratone product. It was meant for portraits, obviously, but I didn’t have anybody handy so I just shot stuff with it. It created an out-of-focus effect around the center of the image. The best of my Portragon shots was of this Subie’s snout.

I finished off the roll with the 50/1.8. I placed the OM-1 on my tripod, set the self-timer, and got this photo of me in our front yard.

Finally, I moved in close to these blue seed balls for one last 50/1.8 photo.

To see more work from this camera, check out my Olympus OM-1 gallery.

The OM-1 almost makes up for its awkward shutter-speed ring by placing a rewind release on the camera’s front. You turn it to the side and then crank to rewind. Most SLRs place a release button on the camera bottom, and in most cases you have to hold that button in the entire time you’re rewinding. It’s awkward. The OM-1’s system is so easy in contrast.

While I’m going to focus the SLR portion of my collection on Pentax and Nikon, I won’t part with my OM-1s. I feel like I’m this kit’s chosen steward. And they’re just so lovely to use, weird shutter-speed ring notwithstanding. And so this gear stays in my collection.

Verdict: Keep

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Camera Reviews

Kodak Pony 135 Model B

I’ve achieved the Kodak Pony 135 trifecta, having now owned and shot now all three models: first the original, then the Model C, and now this Model B. I wasn’t exactly striving for this goal, mind you. But an old friend’s father sent me his entire camera collection a couple years ago and this Model B was present. It was only a matter of time before I put film through it and secured this particular hat trick.

The 1953-55 Kodak Pony 135 Model B, like the original Pony 135, is a step-up camera from the basic Brownies Kodak sold. Its 51mm f/4.5 Anaston lens, probably a Cooke triplet in design, was a serious improvement on the meniscus lenses in most Brownies. It was set in a Kodak Flash 200 shutter that operates at 1/25, 1/50, 1/100, and 1/200 seconds.

Like the original Kodak Pony 135, you have to extend the lens barrel before you can shoot photos. Twist counterclockwise, pull, twist clockwise until it locks. To collapse it, twist, push, twist.

Kodak sold this camera to amateurs who wanted to shoot color slides, Kodachrome and Ektachrome. Kodacolor negative film existed, but not in 35mm format until 1958. These were all seriously slow films — Kodachrome of that day was rated at 12 or 16 ASA, yes twelve or sixteen. Kodak Plus-X was rated at a comparatively blazing 80 ASA then. When using fast modern films, this camera’s camera’s maximum aperture and range of shutter speeds seem limiting. But in context of the time, they were fine.

Kodachrome and Plus-X are discontinued, so I loaded Agfa Vista 200 color negative film into this Pony and took it out onto Indianapolis’s Massachusetts Avenue. My wife and I made it an evening out.

But first I had to cure a sticky shutter. I’d just learned that on cameras like this carefully flowing a couple drops of lighter fluid into the slot for the shutter cocking lever usually does the trick. It freed the shutter immediately!

And yes, you have to cock the shutter on this Pony. You also have to guess exposure and set aperture and shutter speed, as well as guess distance and focus manually. The budding early-1950s photographer got no help from the Pony 135 Model B.

But as that photographer’s skill grew, he or she could get good performance from the Pony. Mine suffers the vagaries of age. I got a lot of haze in most shots, especially when the sun wasn’t perfectly behind me. The lens wasn’t dirty, and I can’t see any haze or fungus among the elements, so I just don’t know what was wrong. Photoshop corrected the problem well enough on many frames but couldn’t cure it on many others, including the one below.

I also took the roll on a lunchtime walk in Fishers, the town in which I work. With the sun directly overhead my shots suffered from far less haze.

Because I’m a terrible guesser of distance, I generally shoot cameras like this at f/8 or smaller apertures and shoot distant subjects so good depth of field makes up for my bad guesses. But I did try moving in fairly close to these plants near my home. It went all right.

See more from this camera in my Kodak Pony 135 Model B gallery.

These Kodak Pony 135s are all pleasant to shoot. They’re light and easy to use once you get the hang of setting aperture, shutter speed, and focus. My only complaint is that the 51mm lens felt too narrow. I prefer my Model C’s slightly wider 44mm lens. But really, you can make lovely photographs with any Kodak Pony. I hope you won’t dismiss them as junk just because of the Kodak name.

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Down the Road

Photographs and stories by Jim Grey

Tag Archives: 35mm

Still more 35mm color scans from ScanGear on the Canon CanoScan 9000F Mark II

Previously unpublished photos from my Kodak Pony 135

Operation Thin the Herd: Minolta AF-Sv (Talker)

Operation Thin the Herd: Pentax KM

Operation Thin the Herd: Olympus OM-1

Kodak Pony 135 Model B

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