I still have a lot of Adox HR-DEV to use up after buying a small bottle to develop a roll of its companion film, Adox HR-50. I’m developing other films in it to see how it performs. I liked Arista EDU 200 (aka Fomapan 200) in it not long ago, so this time I tried Kodak T-Max 400.
I also took this opportunity to test a second Olympus OM-2n body given to me by the same benefactor who gave me the first one, as well as the Olympus OM-4T I recently shot. This very generous fellow also gave me a whole bunch of lenses and other OM gear. He hadn’t shot his OMs in a long time and he was ready for them not to take up space in his home anymore.
I mounted a large, heavy 35-70mm f/4 S Zuiko Auto-Zoom lens. It’s probably this hefty because of its fixed f/4 aperture — if I recall correctly, variable-aperture zooms can be made much smaller and lighter. Despite the weight, I slung the OM-2n over my shoulder and took it on a long bike ride.
HR-DEV is supposed to enhance sensitivity, better differentiating light from shadow. I don’t know if I see that; this looks like normal T-Max 400 to me.
But I very much appreciated how sharp these scans were off my flatbed. They still needed a little unsharp masking in Photoshop, but far less aggressively than normal after developing this film in any of my usual developers.
I finished the roll on a few walks through the neighborhood. What I especially appreciated about these negatives was how little Photoshopping they required to look good. About half of them needed only that touch of unsharp masking.
I made these neighborhood shots on full-sun days, and I think I detect the light areas being lighter than I’m used to with this film under these conditions. Or I could be seeing things.
Just a side note: it’s crazy to me how much of the sides and backs of houses you can see on any walk through this neighborhood, and how often windows are placed haphazardly on them.
If you look at these images at full scan size, which you can do by clicking any of them to see them on Flickr, there’s detectable grain here. But at blog sizes they look smooth enough.
Bottom line, this combination works. Don’t be afraid to try it if you, like me, have some HR-DEV to use up.
Holliday Road is closed to vehicular traffic right now for construction of some sort of development nearby. I reached it on my bicycle using the Turkey Foot Trail, which ends at Holliday Road within sight of the bridge. Here now, a bunch of photos of the bridge in all its bright red glory.
Holliday Road itself is a narrow gravel road that got very little use before it was closed. It was, however, wide enough that two oncoming cars didn’t have to play chicken. Today it’s quite overgrown, especially near the bridge.
I made these photos with an Olympus OM-4T SLR and a 40mm f/2 Zuiko Auto-S lens on Fujicolor 200.
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’ve been riding my bike a lot this summer. From where I live, in just a few minutes I can be on country roads among Indiana cornfields. Even though I’m a dedicated city boy, I really love the peaceful, quiet rides through rural southeastern Boone County.
I also love my old Kodak EasyShare Z730 on a sunny day. It delivers great, punchy color. I hadn’t shot it in some time, so I charged its battery and stuck it in the little bag that hangs off my bike’s seat springs. I made these images on a bunch of rides in late July and early August.
I did bring all of these into Photoshop to tweak them to my liking. Most of them just got a hit of the automatic correction button in the RAW editor and then some manual tweaking of the settings from there.
If I have one complaint about the Z730 it’s that it will randomly make an image too blue or too green. A little Photoshoppery can usually fix that.
One evening when we got another of the beautiful sunsets we enjoy here on the edge of Zionsville, I got the Z730 from the bike to see how it rendered the colors in this available light. The Z730’s maximum ISO is 800, but it’s mighty, mighty noisy there. I shot at ISO 400, which for this photo gave me f/3.4 at 1/45 sec. In the image straight out of the camera, the dark areas were more exposed and quite noisy. I fixed that in Photoshop by increasing the black level to blank them out. I also deepened the dusky colors a bit.
I’m pleased that my Z730 still works, although it shows some signs of age. Its fiddly power/mode switch feels harder to work than in years gone by. Also, the little clip that holds down the battery broke. The battery door still works, and when it’s closed the battery makes good contact. But open that door, and the battery pops out and the camera resets to original settings. That includes date and time, which means unless you set them the camera thinks it’s January 1, 2005, and puts that into image EXIFs.
This Z730 would probably be in worse shape, but it got just a few years of workhorse use before I retired it in favor of the Canon PowerShot S80 and then the PowerShot S95 that I still shoot today.
I shoot this camera only every couple three years. It’s hardly enough to justify owning it, as I want to own just cameras I use regularly. But every time I do use it, I’m glad I did. There’s just something about the color the Kodak digital cameras delivered that cameras from other makers couldn’t match.
I’m blown away that it’s happening: the 1892 Pratt through truss bridge on Holliday Road in southeastern Boone County, Indiana, is being rebuilt.
Last we looked in on this bridge, it had just been destroyed by a tractor towing a farm implement too wide for the bridge.
I’m hearing reports that despite this level of destruction, a surprising amount of the original steel was able to be reused.
Also known as the O’Neal Bridge, it underwent a significant restoration once before, from 2006 to 2009. Here’s a photo I made of it in 2011.
This bridge is on a little-traveled gravel road in a lightly populated part of the county, so it’s hardly a critical transportation link. But as one of just three surviving steel truss bridges in the county, it’s wonderful to see it given one more chance to serve.
The tractor driver said he didn’t know that the attachment he was towing was wider than the bridge. And so the bridge on Holliday Road, near Zionsville in Boone County, Indiana, met its end.
It’s a crying shame, because in 2009 this bridge completed a lovely restoration. I told what I know about it here.
There just aren’t many truss bridges left in and near Indianapolis. I visited this one many times since its restoration. It was a lovely, quiet place to stop.
This bridge looks to me to be damaged beyond repair. But then, so did the 1880 bridge in Paoli that was destroyed by a semi two years ago (story here) — and it reopened this summer. So maybe there’s hope for the bridge on Holliday Road.
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