I had trouble getting this 28-80 zoom to deliver consistently good results on my Pentax K10D DSLR. That lens was from the film era and would have been right at home on one of Pentax’s autofocus film SLR like the MZ-30. For whatever reason, it wasn’t a good match for this DSLR. So I bought the lens that would have come with a K10D in a kit, the 18-55mm f/3.5-5.6 SMC Pentax-DA AL. It’s a match made in heaven.
I’ve sold the K10D and that 18-55mm lens. Now that I own the Nikon Df, I won’t use the K10D anymore. I’m pleased that it goes to someone who will put it to excellent use.
I still have the 28-80 lens, however, because someday I’ll try Pentax’s autofocus SLRs.
I make photos with my phone that I wouldn’t bother to make otherwise. If I have to go find one of my regular cameras, I just won’t be bothered. These tulips on our kitchen windowsill is one of those photos. I was at the sink below to wash my hands when I noticed how the tulips popped against the night in the window. It took just a few seconds to get my phone out of my pocket, set it to square format, and make this image.
The fellow who gave me the Olympus OM-2n gave me another, so I put a couple rolls through to test it. The first roll was Kodak T-Max 400, which I showed you recently. The second roll was some Kodak Gold 400 expired since January, 2008, that I had lying around. I mounted a 50mm f/3.5 Zuiko Auto Macro lens that the fellow also gave me. This is one generous fellow.
These images look very good for film 12 years expired that was never stored cold. They needed very little post-processing. Color shifts are slight. Grain might be enhanced, but I never shot Kodak Gold 400 fresh before it was replaced by Kodak Ultramax 400 to know for sure.
This 50mm macro lens performs beautifully. I own at least one more of them and have for years. This lens raises any color film above its station. This is also a fine lens for non-macro photography. Leave it focused at infinity for anything beyond a couple feet away. It makes your OM camera almost point-and-shoot simple.
The OM-2n is just a wonderful SLR. I’m smitten. My SLR loyalties have been to Pentax first and Nikon second. The OM-2n threatens to have Olympus usurp at least the #2 position.
Callery pear flowers Polaroid SX-70 Polaroid SX-70 Color Film 2020
I was surprised that nothing in this print was in focus. When I had this frame in the viewfinder, the bunch of flowers at lower left was perfectly in focus.
My recent outings with my SX-70 were a lot of fun. But also, the times photographs didn’t turn out the way I expected (as here) lead me to want to keep using this camera. I’d like to build my skills with it and find its limits. Finally, the available films are good enough to permit it.
How is it that I’ve been back into film photography for 13 years but have never shot Kodak’s Portra 400? My 2018 EMULSIVE Secret Santa gave me the nudge I needed by dropping two rolls into the gift box she sent.
As I’ve seen others shoot Portra 400, some use it as a general-purpose color film and others find it most useful for photos that involve people. I don’t often shoot people. I tend to shoot things that don’t move. Like cemeteries. And flowers. In cemeteries.
I had been shooting my Nikomat FTn and decided to keep at it for this roll. I had my 50mm f/2 Nikkor H-C lens mounted. Portra gave me just enough exposure room to shoot inside, albeit with shallow depth of field.
I can’t decide whether I think the colors are muted or not. So many people have said Portra’s colors are muted that I don’t trust my judgment. I see muted colors in these books, but that might be because the books’ colors are genuinely muted. The magnolia flowers and the American flag above don’t look muted to me. Are the greens below muted? I want to say no, but I also can’t recall how vivid the scene was in real life.
I don’t notice grain in these photos at this size, but I do when I look at them at full scan size. It’s neither pleasing nor disruptive. It’s workmanlike grain, faint and unobtrusive. However, I scanned these on my flatbed scanner. Lab scans might have made the grain even harder to detect.
The Portra was at its best at early evening, the sun in that golden-hour sweet spot.
Portra 400 is a very good film. I haven’t pixel-peeped to be sure, but it might have the least obtrusive grain of all the fast color films I’ve shot.
But the film I use most, Fujicolor 200, suits me fine and costs a lot less.
My EMULSIVE Secret Santa sent me two rolls of Portra 400, so sooner or later I’ll put the other one through a camera. I shot it at box speed this time, so next time perhaps I’ll shoot it at EI 200. Several photo bloggers I follow get really nice results when they do that.