A law went into effect here this summer prohibiting drivers from holding their phones in their hands while driving.
The only reason I pick up my phone in the car is to skip a song or start a new playlist. I play music from my phone over the car’s Bluetooth link. But my car is just old enough not to have integrated controls. The only way to interact with my playlist is via the phone itself.
I bought a phone holder that clamps to the vent’s louvers. Because the phone is so available, it tempts me more to interact with it. Could Indiana’s new law have backfired?
Early in my career I wrote instruction manuals for software. Users would frequently call tech support to ask questions that could answer for themselves would they only Read The F$#@ing Manual, or RTFM. Despite this, I almost always put film into a new-to-me old camera without RTFM. I get away with it most of the time. I did not when I shot this Olympus OM-4T.
The OM-4T, known as the OM-4Ti in some markets, was the last of the professional-grade cameras in Olympus’s wonderful OM series. Olympus introduced it in 1986 and manufactured it through 2002, making it among the last manual-focus 35mm SLRs produced. It’s a terrific camera — after you RTFM to learn how to use it.
It’s solidly made with titanium top and bottom plates, yet it manages to be light and easy to carry. Like all OM-series cameras, it’s small. It’s well featured, beginning with an electronically controlled cloth focal plane shutter with a top speed of 1/2000 sec. and a slowest speed of 1 sec. in manual mode and up to 2 minutes in aperture-priority mode. It meters through the lens in center-weighted average and three spot modes. The viewfinder includes dioptric correction for those of us with aging eyes. An innovative new electronic flash control system allowed flash sync from 1/60 to 1/2000 sec.
The OM-4T takes films of ISO 6 to 3200. Here’s where it’s important to RTFM. Like many SLRs, the ISO setting is around the rewind knob. It only looks like the ISO selector on so many other SLRs — it doesn’t work like them. You lift the collar on the outer knob and twist to select ISO, but unlike every other SLR I’ve ever used the exposure compensation setting moves too. After you select ISO — and this is the part where I wish I’d RTFM — you must then lower the collar and twist the exposure compensation setting to where you want it. So nonstandard. I didn’t notice that the exposure compensation was at -2 and proceeded to underexpose my film by two stops Then I loaded some ISO 200 color film and left the ISO set to 100 as I like to overexpose this film by a stop. But because the exposure compensation was still at -2, I underexposed it by one stop. I was ten frames into my third roll of film when I downloaded and read the manual and realized my error. Argh! Thank heavens for the good latitude of the films I shot.
To shoot, move the lever atop the camera to Auto for aperture-priority mode or Manual for manual exposure mode. An LCD display at the bottom of the viewfinder shows exposure information. In manual mode, you’ll see > | < and a row of dashes, along with your shutter speed. It works like a match-needle diaplay: for proper exposure, adjust shutter speed and aperture until the dashes line up with the |. In aperture-priority mode the LCD shows the range of shutter speeds and a row of dashes. Select aperture and press the shutter button down halfway to meter. The row of dashes moves to the shutter speed the OM-4T selects. If the shutter speed would need to be faster than 1/2000 sec, the display shows OVER and the camera beeps.
The star of the OM-4T show is its multi-spot exposure option. I’m not going to get into its full operation here, in no small part because this is a feature I’d hardly ever use. In short: You activate it with the SPOT button next to the shutter button. You can meter up to eight spots and the camera averages them. You can also spot meter for the highlights or for the shadows; the OM-4T then applies exposure compensation to bring out detail.
Two SR44/357 button cells power everything. Glory be, an old camera that takes batteries you can buy at any drug store! Without a battery, you can make a photo but only with a 1/60 sec. shutter.
If you like small 35mm SLRs, also check out my review of the original Olympus OM-1 here, of the OM-2n here, of the Nikon EM here, and of the Pentax ME here. If you’re an Olympus fan, see my reviews of the XA here, the XA2 here, the Stylus here, the Stylus Epic Zoom 80 here, and the mju Zoom 140 here. Or check out all of my camera reviews here.
The first roll I shot in the OM-4T was my last roll of original Agfa APX 100, expired since November of 1998 but stored frozen until my film freezer died last summer. Not only did I shoot this two stops under, but I may have underdeveloped the film. I used Rodinal 1+50, which the Massive Dev Chart said needed 13 minutes at 20° C. That’s what I did, but later I learned that Agfa recommended 17 minutes for this developer and temperature. Argh! But my scanner pulled good things out of a handful of frames.
I made these images as Indiana was reopening from shutdown during the COVID-19 pandemic. Working from home during these times has let me ride my bike more, and I made most of these photos from the bike with the OM-4T slung over my shoulder and across my torso. The body is so light and small it was an easy companion on the bike.
The viewfinder is big and bright enough for me, even though some other reviewers compare it unfavorably to the OM-1 and OM-2 viewfinders. I found having to look down at the LCD panel to be less comfortable than the needle display on the left side of the OM-2n viewfinder. Also, the LCD was a little laggy. None of this is enough for me to pan the camera. I just liked the OM-2n’s needle better.
The camera has no on-off switch, by the way. Pressing the shutter button halfway activates the camera; the LCD wakes up and gives a reading. The camera turns itself off after a while.
My OM-4T came with a standard microprism/split-image focusing screen. As a system camera, you can swap in any number of other focusing screens if you have them. I prefer split image focusing so I was good go to.
I live in a suburban vinyl village, but within five minutes on my bike I can be among the farm fields. This old farmhouse probably dates to as early as 1840.
I next shot two rolls of Fujicolor 200. I intended to shoot them at EI 100 but because I’d buggered up the exposure compensation setting I actually shot the first roll and ten frames of the second roll at EI 400. It’s a testament to this consumer-grade film that these images all turned out fine. Fulltone Photo did the developing and scanning.
I made most of these images on a beautiful morning I took off from work. I got on my bike and rode around on country roads four hours. I’ll write a separate post about the red bridge — it’s restored after being mangled by a too-large tractor.
Even though I’m a city boy through and through, I deeply enjoy riding out in the country. It’s peaceful, there’s almost no traffic to contend with, and you get to see lots of great old farmhouses.
I left the 40mm f/2 lens on for this ride. It focuses from 10 inches, making it almost a macro lens.
After I RTFMed and set ISO properly on this OM-4T, I mounted a 50mm f/1.8 Zuiko Auto-S lens and shot the rest of the roll on various bike rides over the next week or so. I can’t imagine riding with many of my other 35mm SLRs as they are so much larger and heavier.
Except for that laggy viewfinder LCD, the OM-4T handled beautifully. The controls all felt well-made and smooth under use.
Rewinding film on the OM-4T is a little different from on the OM-1 and OM-2. Press in the R button atop the camera next to the shutter button. Then pull up the rewind crank and rewind away.
I had a fine time with the Olympus OM-4T. Because I never fully took to the LCD display, it never disappeared in my hands like the OM-2n did. But this camera passes my litmus test: if it were the only one I could own, I’d shrug and get on with making beautiful images with it for the rest of my life.
If you like old film cameras, check out all of my reviews here! To get Down the Road in your inbox or feed reader, subscribe here.
I don’t know why I thought an ISO 100 film made sense during the gray days of an Indiana winter. I need to tattoo it on my film-loading hand: fast film in poor light, you kook!
But I liked the results I got on original-emulsion Agfa APX 100 (expired 7/1998) so much the last time that when I came upon another roll in my film fridge I let impulse rule.
It had been an age since I shot my Nikon F2AS. A 50mm f/2 AI Nikkor lens was already attached so I just went with it. It was good to catch up with my old friend, even if I was relegated to slow shutter speeds and wide apertures and the resulting need to stand stock still or brace myself against fixed objects to avoid camera shake.
I shot these images just before Christmas, during the loose-ends phase of my recent unemployment. I took a lot of walks on the two-mile main-road loop of our neighborhood. It was something to do and it burned the extra calories I was taking in thanks to always being near my refrigerator.
Much of December was white around the edges, but a warm spell the week before Christmas erased all that.
The bare trees are the only clue to these photos’ time of year. But even they can’t narrow it down all the way.
I’m getting to the point in my photography where I almost don’t care what my subject is, as long as I can arrange an interesting composition or capture interesting light. That’s a good thing, because this vinyl village subdivision I live in is anything but interesting.
On one walk I got a little direct sun. APX 100 goes all silvery in direct sun — it’s this film’s endearing charm. The soil in this flowerbed reminds me of those old TV commercials for Folger’s Crystals, all sparkling and rich.
One more from before the snow melted. This road near our subdivision is an old alignment of a decommissioned state highway. It dead ends just behind me.
Carmel Arts and Design District Nikon F2, 50mm f/2 AI Nikkor Agfa APX 100 (expired 7/1998) 2018
I don’t remember downtown Carmel, Indiana, before it was built up. I guess it wasn’t much, just a handful of old buildings. I don’t know; I never spent any time here.
Which, I suppose, is why the city built up its downtown. It’s now full of restaurants, shops, and galleries. My wife and I come here from our Zionsville home several times a year, sometimes just to have a pint of Guinness at Muldoon’s, but just as often to attend one of the many events here. They have an annual car show I really like.
Calling it the “Arts and Design District” feels like a ridiculous affectation, a name affixed in hopes it would one day come true. But as small-city downtowns go, it’s pretty nice.
I took the F2 along when Margaret and I toured the Michigan Road from Indy to Logansport just after Thanksgiving. The light was weird this day, and mighty dim for the ISO 100 film I was packing. Many of my photos suffer from camera shake. Fortunately, not this one.
I have a soft spot in my heart for little Kirklin. I remember how hapless and forlorn it was when I first stopped here, in 2008, during my original Michigan Road survey. That’s the Michigan Road cutting laterally across the center of the frame, by the way. That building on the opposite corner was about ready to fall in when I first saw it. Somebody rescued it.
To Vindicate the Principles Pentax ME, 35mm f/2.8 SMC Pentax-A Agfa APX 100 (expired 7/1998) 2018
Indianapolis is second only to Washington, DC, in war memorials. Actually, while DC has more in number, we devote more land for ours. Take that, DC.
The Indiana War Memorial Plaza consumes five full blocks of prime Downtown space, between the federal courthouse on New York St. and the Indianapolis Public Library on St. Clair St.
If you’re ever in Indianapolis and want a good place to make some photographs, head on down to the Indiana War Memorial Plaza. If you’re there on a Wednesday, Thursday, Friday, Saturday, or Sunday between 9 am and 5 pm, be sure to tour the museum inside the Indiana War Memorial itself.