Photography

Chicago at Christmas on Kodak T-Max P3200

Christmas at Macy's

I loaded my Nikon F3 with Kodak’s resurrected T-Max P3200 film and took it along on our early-December trip to Chicago. It was to be a gray weekend, and we were going to be walking about a lot after dark. That seemed like a perfect opportunity to try this nominal ISO 800 film that cheerfully pushes to 3200.

Wooden soldier

It was so much fun to shoot anywhere and everywhere — indoors, after dark, on an overcast afternoon — at generous apertures and shutter speeds. I was too busy having fun to take notes, but I think I was shooting at f/8 anywhere I wanted with shutter speeds of at least 1/30 second. I never had to worry about camera shake. 

Macy's Christmas

The first two photos are from the Christmas display inside Macy’s on State Street. Here’s a shot of Macy’s exterior all decorated for the holiday. The P3200 needs just a little ambient light to make a plenty usable image.

Marshall Field & Co.

Macy’s bought the former Marshall Field department-store chain. I miss Marshall Field.

Christkindlmarkt

We also walked through Christkindlmarkt twice. The first time was on a busy Saturday afternoon and the second was early on a Monday when we had the place largely to ourselves.

Bulbs at Christkindlmarkt

I shot an ISO 100 film on our Chicago trip last year. That slow film gave me limited depth of field, which limited what I could do. Not so this P3200 — I could shoot up close and choose just how much blurred background I’d get.

Dragon at Christkindlmarkt

Christkindlmarkt offers so many subjects: the market itself, the individual booths, the wares in each booth, and the people enjoying themselves. 

Wooden toys at Christkindlmarkt

The P3200 let me photograph any of it in pretty much any way I pleased. I’ve never had so much flexibility in bad light with a film camera.

Christkindlmarkt

So many people wander Christkindlmarkt with their cameras out that I don’t feel as self-conscious as usual about photographing people. But I’m happy I didn’t notice until this roll was back from the processor that this fellow here spotted me in the act.

Selling nuts at Christkindlmarkt

One night we walked over to Millennium Park to take in the Christmas fun. The ice-skating rink was open late.

Ice skating at Millennium Park

The P3200 wasn’t fast enough to let me freeze the skaters as they sped by. I suppose you can’t have everything.

Ice skating at Millennium Park

We also explored the Great Hall at Union Station. It’s gorgeous; you should see it.

Polar Express, Union Station, Chicago

It, too, was all decked out for the holiday. You might not be able to make it out, but this Christmas tree is decorated with logos from various railroads, past and present.

Christmas tree, Union Station, Chicago

I had a ball shooting Kodak T-Max P3200. Anywhere I went, in virtually any lighting conditions, my Nikon F3 could get a solid exposure and I could make an image.

As you can see, the images I got have good sharpness (through my 35mm f/2.8 AI Nikkor lens) and decent tonality. I especially enjoy the rich blacks this film returned.

These images would make lovely snapshot-sized prints. I’ll bet they’d even make usable 5x7s. But the grain becomes more pronounced the larger you make these images. Click any of them to see them on Flickr, and then click the image there to see it at full scan size. You’ll see: the grain is giant. Fortunately, it’s also really pleasing — and subjects hold their definition.

I’ll definitely buy more P3200 and keep it on ice for gray-day and nighttime shooting. Shooting these two rolls and seeing the wonderful results was a real joy.

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Film Photography

Photos from my new book, Textures of Ireland

Here are a few photos from my new book, Textures of Ireland, to show you the incredible scenes I captured on black-and-white film. Don’t these images look almost three dimensional? I shot Kodak T-Max 400 film, by the way, in my Nikon N2000 through my 35mm f/2.8 AI Nikkor lens for all of these photos.

If you’d like to buy a copy of my book, scroll to the bottom for links.

Portrush

Portrush, County Antrim, Northern Ireland.

Sligo Abbey

Sligo Abbey, Sligo Town.

At Kylemore Abbey

Kylemore Abbey, Connemara, County Galway.

St. Stephen's Green

Caretaker’s house at St. Stephen’s Green, Dublin.

TexturesOfIrelandIcon Textures of Ireland Book

A copy of my book, Textures of Ireland, printed on demand and mailed to you from Blurb.com.

$14.99 plus shipping

Buy-Now-button

 

Textures of Ireland PDF

A copy of my book, Textures of Ireland, as a PDF — which I will email within 24 hours to the address you provide.

$4.99

 

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Film Photography

My new book: Textures of Ireland

Ireland is a country of color — especially green, in astonishing shades across its rolling countryside.

texturesofirelandcover1.pngYet I shot black-and-white film all over that country, looking for light and shadow. What I got was a set of images with such texture that you want to touch them. When you do, you’ll be surprised not to feel the textures in your fingertips, as if they were pressed into the pages in relief.

My new book, Textures of Ireland, shares the best of my black-and-white photographs. You’ll see scenes from Northern Ireland in the region where the show Game of Thrones is filmed, country scenes from Ireland’s rich northern and eastern counties, as well as ruins and modern architecture from cities and towns.

I’m offering my book in two ways: a traditional paper book printed on demand at Blurb.com, or as a PDF. The PDF is the fastest and least expensive way to see my book — but the textures come out best by far in print. I hope you’ll buy a copy today!

Textures of Ireland by Jim Grey, 36 pages, published via Blurb.com.

TexturesOfIrelandIcon Textures of Ireland Book

A copy of my book, Textures of Ireland, printed on demand and mailed to you from Blurb.com.

$14.99 plus shipping

Buy-Now-button

Textures of Ireland PDF

A copy of my book, Textures of Ireland, as a PDF — which I will email within 24 hours to the address you provide.

$4.99

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Prince Albert in a can

Prince Albert in a can
Yashica Lynx 14e
Kodak T-Max 400
2014

Fellow camera-collecting blogger Peggy Anne reviewed her Yashica Lynx 14 recently, and it led me to look back at my photos from my nearly identical Lynx 14e.

This camera’s lens is simply incredible. Just look at that sharpness and clarity! And this is with the lens either nearly or fully wide open, thanks the the dim antique-store light.

When I restarted my collection in 2006 I intended to collect fixed-lens rangefinders. I had bought eight or ten of them when someone gave me an SLR they no longer wanted. The SLR bug bit me hard and that was pretty much that for my rangefinder obsession.

As I shrink my collection through Operation Thin the Herd I will to keep just one or two rangefinders — ones I will use and love. If I had to guess right now, I think I’ll wind up with my Canonet QL17 G-III and my Lynx 14e.

Not that either camera is in fully working order. The Canonet has always needed new light seals. The Lynx 14e’s meter is off by a stop. But for cameras I’m going to keep, I’m willing to invest in repairs.

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Film Photography

single frame: Prince Albert in a can

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Film Photography

Operation Thin the Herd: Yashica Electro 35 GSN

One Nine Five

I’m supposed to like this camera, right? Everybody else seems to. I expected to — I committed to a 36-exposure roll of Tri-X in it. No 24-exposure bet-hedging for me, not this time. But then I didn’t find pleasure in using my Yashica Electro 35 GSN.

Yashica Electro 35 GSN

I liked it the last time I shot it. See my review here; see a sample photo from that shoot below. It is among my very favorite works ever. But that was a solid six years ago, and in that time I’ve discovered that I’m just happiest behind the eyepiece of a mechanical SLR. Using this classic (large, heavy) rangefinder camera seemed awkward to me.

Wall

Its size and heft weren’t the problem, as I happily shoot beasts like the Nikon F2 SLR. It was the controls. I fumbled with them through the roll and never reached that nirvana-like state of being one with this camera.

Flowers

My number one challenge was my inability to find the focusing ring on the lens barrel without removing the camera from my eye. A lever on that focusing ring would go a long way to making the Electro 35 more pleasant to use.

House

Obviously I got usable images from this Electro 35, all in focus and properly exposed. I shot most of this roll on a late-winter walk through downtown Zionsville.

Noble Order

Unfortunately, since I last shot this camera the light seals started to fail. Or maybe it’s just lens flare, but my gut says no, it’s those seals. Half the shots on the roll show leaked light along the top edge. You can see it pretty well as a light haziness at the top of this photo.

Buffet Everyday

Yet when you look past that, the 45mm f/1.7 Color-Yashinon lens returned good sharpness and detail. So it’s no wonder that this camera is so honored and costs so much on the used market. It’s too bad that it and I just didn’t bond on this outing.

Garage

I finished the roll in Fishers. Here’s the room in which I work. My workstation is right up front and the monitor on a pole is part of my brother’s standing workstation. It’s still great to work with my brother every day.

Office

Somebody taped this paper plate to a torchiere lamp last Halloween and it’s never gone away. It is right behind my head as I work, always watching.

Skull

To see more photos from this camera, check out my Yashica Electro 35 GSN gallery.

I own a handful of large 35mm rangefinder cameras: this one, a Minolta Hi-Matic 7, a Konica Auto S2, and a Yashica Lynx 14e. I do want to keep one of them, and I think it’s going to be my Lynx 14e for its sublime f/1.4 lens. But as for this Electro 35 — I already sold it.

Verdict: Goodbye

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Film Photography

Shooting the 35mm f/2 SMC Pentax-FA AL on the Pentax ME

I bought this autofocus 35mm f/2 lens hoping it would make my digital Pentax K10D SLR into a useful kit. But that combo and I just didn’t bond. I thought maybe, since this lens has a usable manual-focus ring, it might be good on my Pentax film SLR bodies. So mounted it to my Pentax ME to see what it was really capable of.

Looking out

In retrospect I should have shot a film I know very well, like Fujicolor 200, for a more confident evaluation. Instead I shot Eastman Double-X 5222. I had just shot a roll of it in my Canon EOS 630 (as part of Operation Thin the Herd) and wanted to stay in that groove. It’s still enough for me to declare a verdict: this lens is pretty good, delivering great sharpness and smooth bokeh.

Buds

Just look at all the detail in the back of this little reader’s head. If you’ve read this blog for a while you might recognize it as the little reader at the James Whitcomb Riley gravesite in Crown Hill Cemetery in Indianapolis.

Reader

I also brought the camera to church one Sunday and made few inside photos after service ended. I have shot this scene a couple times recently — I feel like there’s a good photograph in it, but I haven’t found it yet.

West Park CC

When I evaluate these photos on their merits, I see fine sharpness and detail. So then why do I feel so lukewarm about this lens?

Pews

It’s probably because it was the single most expensive photographic purchase I’ve ever made. I forget exactly what I paid but it was about $250. (Ok, so I’m the last of the big spenders.) For that kind of money I want this lens to absolutely sing.

Sanctuary

And it just didn’t. I could get a manual-focus 35mm Pentax lens for my film bodies for a lot less money and be just as happy with it, I’m sure. I think that’s what I’m going to do, because I find 35mm to be such a useful focal length on a 35mm SLR body.

And with that, my Pentax K10D DSLR experiment comes to an end. I just can’t find a solid purpose for it in my gear stable. I’ll be selling it, this 35mm lens, and a 28-80mm zoom lens I bought for it, on eBay soon.

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