Cross this bridge at a walk Kodak Monitor Six-20 Anastigmat Special Kodak Gold 200 (expired) 2013
I won’t soon forget the day I made this photograph. Margaret and I were still dating, and I took her to Bridgeton to see the bridge.
Bridgeton had always been a private place for me, a place I go when life has knocked me around hard and I need to reconnect with the good in the world. At first it was because the people of Bridgeton had kept the original 1868 bridge in good repair. Later it was because after arson destroyed that bridge, those same people rallied to build a new bridge.
It was this day I shared this little piece of my heart with her. Funny it felt that way, because some years before I told the world about Bridgeton on this blog here.
It was a truly lovely day. Margaret packed a light picnic lunch, which we shared on a grassy area alongside the bridge. She asked a passerby to photograph us with another film camera I had along. I can’t find that photograph!
If you’re wondering why this photo on Kodak Gold 200 is in black and white, it’s because Dwayne’s processed it in black-and-white chemicals by mistake. On this photo, at least, it worked out fine.
Checking for a suspected shutter fault in my Nikon F3 I put two rolls of film through it late last year: one Kodak High-Definition 400 (see some of those photos here) and the other Kodak Max 400, photos from which I’m sharing here. Both rolls expired in 2007. I’m not a fan of expired film’s unpredictable results. So to me, the stuff is best used for a job like this.
The F3 went along on our day-after-Christmas road trip up the Michigan Road. All of these photographs are from the road, in and near Rochester. As I shared in this post, Rochester has a long row of lovely old houses on the road as you approach downtown from the south.
Even though it was midafternoon, given the time of year the sun rode fairly low in the sky and delivered some delicious light. The film’s colors all shifted a little, which is a hazard of being expired. But the Auto Tone tool in Photoshop fixed that right up in a second.
At full scan size you’ll see considerable grain in all of these photos. But at blog size the grain is managed well enough. I’m pleased that I was able to get a little blurred background at EI 400 with the 35mm f/2.8 AI Nikkor lens I was shooting.
On Rochester’s square, apparently Santa comes to visit in this little house. On the day after Christmas it had not yet been removed.
I also aimed the F3 at the abandoned bridge abutment north of Rochester, which I wrote about more extensively here.
This is the Tippecanoe River, placidly flowing past the bridge on which I stood.
That bridge, a simple modern steel stringer, features this plaque commemorating its 1982 completion. I love the typeface they used for the plaque.
Standing by that plaque I focused on the memorials on the old approach, enjoying the ever-fading afternoon light.
The F3 performed flawlessly, by the way. My worries about the shutter were unfounded.
When I moved in with my wife, she had a bunch of film she never got around to shooting before she bought her DSLR. Most of it was Kodak Max 400, but one roll was Kodak High Definition 400, a film I’d never heard of.
Looking it up on the Internet, people agree that this was Kodak’s Royal Gold 400 film rebranded. That film was known for smooth grain, saturated colors, and punchy contrast.
I found this film in a drawer with an expiration date in 2007, so I knew it wasn’t going to perform like new. The rule of thumb is to increase exposure by one stop for every decade of expiration, but I rated it at EI 400 anyway and loaded it into my Nikon F3. On my previous outing with the F3 the shutter misbehaved, leaving vertical light streaks on several shots. I thought maybe the camera was misbehaving thanks to having not been used in over a year. The best way to find out was to shoot a couple more rolls. My cache of expired film was perfect for the job.
The film performed all right, yielding well-saturated but slightly shifted color. A quick hit of Auto Tone in Photoshop un-shifted the color lickety split. Grain was pronounced at full scan size, though it’s hard to tell that at blog sizes.
The F3 and the HD 400 came along on our post-Christmas road trip up the Michigan Road. Here’s a block of downtown Plymouth.
The F3’s shutter performed flawlessly, thank goodness. Still, it’s time to put this wonderful camera in the queue to send out for CLA.
I gather that Kodak introduced this film as its Gold 100/200 and Max 400 films had grain that could show up on enlargements. Remember when a standard print was 3.5″x5″? Through the 90s and early 2000s the standard size became 4″x6″, and some labs let you order 5″x7″ prints at nominal extra cost.
I’ve never had trouble with grain on my prints of Kodak’s regular 200 and 400 color films. Maybe they’ve improved those films since HD 400’s days.
The Mormons’ Indianapolis temple isn’t actually in Indianapolis. It’s in Carmel, a city that borders Indianapolis to the north.
But I gather that this building is drop-dead gorgeous inside. After it was completed a few years ago, they offered tours to the public. My parents went, and my mom gushed for days about the quality of the materials and the attention to details. I wished I had made time to take a tour.
Because after the tours completed, non-Mormons were forever blocked from entering.
It all started because I gave my 50mm f/2 SMC Pentax-M lens to my son to use on the Pentax K1000 I also gave him. I didn’t think I needed that lens anymore, as I own a 50mm f/1.4 SMC Pentax-M lens. How many 50mm primes does one need, anyway? But that 50/2 imparts a wonderful warmth on color film that the 50/1.4 simply does not. I came to miss that 50/2 look.
So I turned to eBay. I had my selection of good ones for very little money. Mine cost $20.
But while searching I also found a 50mm f/1.7 SMC Pentax-M lens. I’ve heard good things about this lens, but have never tried one. It is an optically better lens than the 50/2. So is the 50/1.4, however, yet in everyday shooting I prefer the look I get from the 50/2.
Would the 50/1.7 be more like the 50/1.4 or the 50/2? I decided to find out, since finding out would cost me just $40. It didn’t hurt at all that at that price the lens was attached to a Pentax ME body.
When the kit arrived I put some Kodak Max 400 through it. This film was left over from the end of my wife’s film-shooting days; the expiration date was October of 2007. I found it in the fridge, but I couldn’t say for sure it had always been there.
So: I put film of iffy provenance through a new-to-me old camera which could have any number of faults. At least the lens was obviously clear and clean, and its aperture and focus rings functioned properly. It was the only variable in the equation that I felt sure about!
The results show the muted colors and pronounced grain of poorly stored old film. So this wasn’t the best test roll to show the 50/1.7’s capabilities. At least the ME body appears to be functionally sound where it counts: the meter and the shutter both seem accurate.
I’ve been taking long walks a lot more lately, trying to regain some lost physical stamina and drop a few pounds. My wife shared her two-mile neighborhood loop with me. This fire plug is on it.
That loop takes me down an old alignment of State Road 334, past a fallen State Right-of-Way marker. I photographed it twice, once wide open and once stopped down to the minimum aperture the poor light would allow. It’s hard to tell for sure because of the expired film’s condition, but it looks like this lens may be capable of some lovely bokeh.
I forget where I made this leafy photograph, but it, too, suggests that this 50/1.7 is a lovely performer. Next time, fresh film for sure.
I also took a walk through Indianapolis’s Broad Ripple neighborhood one morning before meeting a colleague for coffee. I loved how the sun played across this terraced garden.
I also strolled through Daubenspeck Nature Park on Indianapolis’s far Northside one day before stopping by my mom’s nearby home for a cup of coffee. I’d never been in there before and didn’t know it had lovely views.
Just for giggles I shot this on my desk at work. Every time our young company reaches a milestone, or when an individual participates in a key project, a Lego is issued to commemorate it.
Last and least, this Zionsville cop car with lights flashing. I had stopped at my nearby Dunkin’ Donuts for coffee on my commute, and a community event there had the chief of police shaking hands with folks. The car was probably supposed to announce his presence, but rather it made me wonder if a crime had gone down at the Dunk.
I don’t need this lens. But since I’m doubling down on my Pentax SLRs, both screw- and K-mount, I might as well own the trifecta of 50mm SMC Pentax-M lenses. And the Pentax ME body this lens came with worked fine, except for a shutter button that sticks the first time you press it after you turn the camera on. Since I already own (and love) a like-new Pentax ME, I’ll probably send this one out for CLA and to get that shutter button repaired and then give it to my son. If he’s anything like his old dad, he’ll like the ME better than the K1000 too.