Penn Park Nikon Nikkormat EL, 35-70mm f/3.3-4.5 Zoom Nikkor Foma Fomapan 100 2019
When you photograph the world as you experience it, as I do, the places you get to go open you up to new photographic subjects. Sometimes they even provide a seldom-seen view into the world.
I park in a parking garage Downtown right next to the building in which I work. As a man of routine, I drive by open spots every morning to park in this one area at the back of the garage where Level 3 starts to become Level 4. There’s almost always an open spot there. At the end of the workday I never have to try to remember where I parked.
This is the view from there, down an alley called Court Street. How many people ever drive or walk down this alley? Not a fraction as many as drive down Pennsylvania St., down there at the end of the alley. The Penn Park garage announces itself, as it does here, to a relatively small number of people who work Downtown. It’s an exclusive club of sorts, the people who even know those words exist.
My Nikkormat EL’s shutter is capping, leaving a black stripe across the top of every photo. It was bummed to find it out after putting film through it. But I hated to waste the images, so I cropped them creatively to make the most I could out of them. My careful compositions could not be salvaged, but several of the photos remained interesting on some level anyway. 16×9 was the aspect ratio I used most. Here are a bunch of those cinematically scaled photographs, on Fomapan 100 through the 35-70mm f/3.3-4.5 Zoom Nikkor.
Downtown Indianapolis, the former L. S. Ayres building dappled with reflected evening sun.
From the roof of the building in which I work in Downtown Indianapolis, looking northwest.
Through a conference-room window at work, looking at balconies in a neighboring building. It’s always amusing during a meeting when residents come out in their houseclothes, or sometimes even less, to sip coffee or sun themselves.
Waterman Hardware, one of the oldest continually operating businesses in Indianapolis, on the Michigan Road southeast of Downtown.
The New Bethel Ordinary. I hear their pizza is to die for. Garlic and onions chew my insides alive so I’ll never find out. In Wanamaker, a community in far southeastern Indianapolis on the Michigan Road.
The New Bethel Ordinary’s patio. Spot the Michigan Road sign!
The northwest corner of Shelbyville’s Public Square. Another Michigan Road town.
Some of these photos have a bottom-heavy feel to them given what I had to crop out. But as documentary photos they’re still okay.
It was the last of the Nikkormats (or Nikomats, as they were called in Japan): the EL. It was also the first Nikon SLR with aperture-priority autoexposure. Nikon made them from 1972 to 1976. They’re well-built cameras that can take years, even decades, of heavy use.
This one was a latecomer to my SLR party; by this time I’d settled on my favorites. While I liked this camera fine when I shot my test roll with it I kept reaching for my usual cameras after that. The test roll was Fujicolor 200, and my 55mm f/2.8 Micro-Nikkor lens was mounted. This photo from that roll is of two cars I used to own.
This is a fine, capable camera. Perhaps that’s why I waited until near the end of Operation Thin the Herd to shoot it: I expected I’d like it and keep it. I plopped in some Fomapan 100, mounted my guilty-pleasure 35-70mm f/3.3-4.5 Zoom Nikkor lens, and went to town.
I also laid in a fresh battery, a stubby 4LR44. Thank heavens for Amazon, because you can’t get these batteries at the corner drugstore. The battery slips neatly in below the mirror inside the camera. Use the mirror lock-up button to get at it.
Fomapan 100 is far from my favorite slower b/w film, but this roll had been moldering in my fridge for a long time and I decided to shoot it up. This is easily the best performance I’ve ever gotten from this classic film. Highlights are on the light side but at least they’re not blown out, which seems to be this film’s signature move.
The EL’s tactile experience falls short of luxurious, but everything feels rock solid under use. If you send a Nikkormat EL out for CLA, it will outlast you. That’s what I need to do for this one. Every single frame on the roll showed shutter capping. I’ve just cropped it out of all the photos I’ve showed you before this one. Now you know why some of these photos are 16×9 rather than 4×3.
The shame is, you don’t know a shutter is misbehaving like this until after you’ve shot the roll and had it processed. Unfortunately I shot two rolls of film in the Nikkormat before sending them off for processing. The second roll was Agfa Vista 200. Cropping saved many of this roll’s images, too.
I brought the Nikkormat out for a day on the Michigan Road. This pizza joint is on the square in Greensburg.
Half the 35-70’s split prism focusing aid was black on this bright-sun day, a not uncommon problem with zoom lenses. I had to guess focus, and I frequently got it wrong. Between that and the shutter capping I got nine usable images on this roll, which I shot entirely on Greensburg’s square. Not a great day with the Nikkormat.
The Nikkormat EL is a competent and capable tool, its shutter issues notwithstanding. I didn’t dislike using it, but I wasn’t falling in love, either. Its size and weight is similar enough to my Nikon F2 or F3, which truly delight me to use, that I’ll probably always reach for those cameras first. I’m going to pass this Nikkormat along to its next owner.
The old barn in the city Nikon F2AS, 35mm f/2.8 AI Nikkor Foma Fomapan 100 2016
Every time I’ve used it, Fomapan 100 has been good enough as a general-purpose black-and-white film. On bright days I underexpose it a little to avoid blown highlights. But in even light, it really delivers.
I remember the farms of Pike Township in Indianapolis. Some of them, anyway; by the time I moved there in 1994 many farms had already given way to suburban subdivisions.
I used to go to church with a fellow who grew up near this old barn, and he spoke of being able to stand by this barn and see nothing but farmland for miles.
You’ll still find farmland here and there in Pike Township, if you know where to look. But from anywhere you might stand there, you’re far more likely to see rows of vinyl-sided homes or low light-industrial buildings today.
Why didn’t Nikon just call its non-pro line of cameras Nikons from the start? As they eventually learned, everyday people would pay for the cachet of the Nikon name. Yet Nikon insisted on calling its lesser SLRs Nikkormats (or Nikomats in Japan) in the 1960s and much of the 1970s.
Those Nikkormats became more and more sophisticated over time. By 1972 Nikon had developed its first camera with an electronic shutter and automatic exposure, and gave it a Nikkormat name. Here it is, the Nikkormat EL.
Large and heavy, the Nikkormat EL offered a reasonable complement of features. Its shutter operates from 4 to 1/1000 sec. It offers depth-of-field preview, mirror lockup, and a self timer. A stubby 6-volt 4LR44 (aka 476A, A544, and PX28A) battery powers it all. It goes in a slot behind the lens mount, under the mirror. Use the mirror lockup lever (left of the lens mount) to move the mirror up. Then lift the battery cover and insert the battery. I thought I’d have trouble seating the battery in that tight space but I snapped it right in with my index finger.
The Nikkormat EL’s viewfinder is fairly big and bright and features an easy-to-read match-needle system for the aperture-priority autoexposure. There’s no on-off switch; to activate the meter, pull the winding lever back. The EL’s focusing screen offers a central split-image rangefinder ringed with a microprism. It works beautifully. The white button left of the viewfinder checks the battery. Press it in with your thumbnail. If the battery is good, the amber light glows.
With this Nikkormat Nikon moved closer to the classic 1970s SLR idiom by moving the shutter speed selector to a dial atop the camera, next to the wind lever. (Early Nikkormats placed the shutter speed selector on a ring around the lens mount.) And as you can see, the EL takes films from 25 to 1600 ISO.
I’ve reviewed one other Nikkormat, by the way, even though mine carries its Japanese name, the Nikomat FTn. You might also enjoy my reviews of straight-up Nikon SLRs: the F2, the F3, the FA, and the N2000. You can see a list of every film camera I’ve ever reviewed here.
Nikon finally got the clue when it updated this camera for 1977: it became the Nikon EL, the first Nikon SLR without removable prisms and focus screens. The Nikkormat line died quietly.
This EL was placed on permanent loan in the Jim Grey Home for Wayward Cameras by John Smith, who generally buys his gear in top shape. The EL is said to be prone to electronic gremlins, but this one works fine.
I dropped some Fujicolor 200 in, mounted my 55mm f/2.8 Micro-Nikkor lens, and got to shooting. I love to do close-up work and the Micro-Nikkor enables it so well. Yet it’s a fine lens for shooting things at greater distance. These are the reading glasses I keep on my desk at work.
And here’s a gripping photo for the annals of all-time greats: the cruise-control switch on my Toyota. I love it that the Micro-Nikkor lens lets me contemplate details like this.
We had some striking light one evening, so I went out to photograph it.
This light lasted just a few minutes, before the setting sun and the clouds rolling in obscured it. How often do we get light like this but forget it because it is so fleeting?
I got a nice photograph of my two cars with the Nikkormat.
The challenge with owning so many fine cameras is that it can be years before I shoot the same one again. That’s not great for old gear. When I picked it up again a few years later, its shutter was capping.
I shot two rolls before I learned this. I cropped the black area out and made the best of the scans. These color shots are on Agfa Vista 200 through my 35-70mm f/3.3-4.5 Zoom Nikkor lens.
16:9 seemed to be the aspect ratio that worked best, so I cropped to that most often. The Nikkormat was otherwise as it always was: sturdy and sure. These black-and-white shots are on Fomapan 100, still through the 35-70.
Ignorance is bliss. Not yet knowing all of my shots were compromised, I had a nice time with the Nikkormat. It really is a good camera.
Metal, mostly mechanical 35mm SLRs are my favorite kind of camera, and aperture priority is my favorite way to autoexpose, so of course I enjoyed shooting with the Nikkormat EL. I didn’t enjoy shooting it any more than any of the other mostly mechanical 35mm SLRs I own, though. I suppose it says a lot about the general goodness of SLRs from the 1970s that a camera as capable and well made as this one doesn’t rise above the rest.
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.
“Isn’t this roll of film done with yet?” I said aloud suddenly, to nobody. Oh good heavens, is it possible that I didn’t wind the film on right and it hasn’t been advancing? Because I certainly don’t want to shoot the whole roll over again.
That’s when it hit me: I had not at all enjoyed using this camera. It had frustrated me from the first frame.
To hell with any unshot frames. I rewound the film.
Meet the Argus A2B. That I disliked it surprised me, because I have another A2B (review here) and I enjoyed shooting it. But that was five years ago, when my camera preferences were still forming. Would I hate that camera, too, if I shot it now?
Before I get to why this camera and I didn’t get on, here’s some history. The 1936-51 Argus A series of cameras has a fascinating story (read it here) as the first affordable camera for Kodak’s 35mm film cartridge, new in 1934. The A2B is from 1941-1950 and added an extinction meter and exposure calculator over the original A.
The various A-series models offered slightly different lens and shutter combinations. Running changes were even made within a series. The original A2B offered a 50mm f/4.5 uncoated lens set in a four-speed Ilex Precise shutter (1/200, 1/100, 1/50, 1/25 sec.), with a plunger-style shutter button. In 1945, the shutter became an unknown type, still four speeds (1/150, 1/100, 1/50, 1/25 sec.) and the shutter button became a lever. Some postwar A2Bs even featured a coated lens. This A2B’s features make it a prewar model; my other one is from after the war.
The A2B has some quirks that some find endearing and others find annoying. One quirk is the collapsible lens barrel, which controls focusing. In, the camera focuses between 6 and 18 feet; out, it focuses beyond 18 feet. Twist the barrel to extend or retract it. When retracting, twist so tabs on the barrel fit under flanges on the body. This holds the lens in. The photo above shows the lens extended.
The other quirk is a weird aperture scale with stops at 4.5, 6.3, 9, 12.7, and 18. Whatever aperture my light meter or Sunny 16 guesses told me to use, I set it a hair off the next higher aperture on that scale. The extinction meter on this one looks to be in good shape, but it is tiny and thus difficult for my middle-aged eyes to use. For that matter, the viewfinder is so small as to be almost unusable, too.
I thought old-school Fomapan 100 would be just right for this old-school uncoated lens, so I loaded some and got to shooting. And then all of the A2B’s quirks kept taking me right out of the photographic moment.
I did get a few solid shots from it, such as this one of the public library in tiny Kirklin, a little town on the Michigan Road about 45 minutes north of Indianapolis. This is a Carnegie library; see others from around Indiana here.
I wished for a carry strap on the A2B. It’s coat-pocket small, but who wears a coat in July? Fortunately, I own a couple pairs of cargo shorts that let me carry even bulky cameras, but I didn’t always already have them on when I went out shooting. So it took me a solid couple months of using it here and there to get through as much of the roll as I did before I threw in the towel. This pavilion is in Elm Street Green, a park in Zionsville.
The whole roll came back from the processor suffering from muddy contrast, which is characteristic of these old, uncoated lenses. I tweaked contrast on every frame in Photoshop. On this and a few other frames, I also played with the shadow control to bring out details in dark areas. This shot of Margaret at Elm Street Green is technically the best shot on the roll: decent contrast and passable sharpness at snapshot sizes.
I spent an afternoon in Rochester in northern Indiana at a Michigan Road board meeting, and had the A2B along. We met across the street from the Fulton County Courthouse, a grand Romanesque Revival structure. I couldn’t back up far enough to get the whole thing in the frame. And the tiny viewfinder made framing it more challenging than I like. Also, any shot where the sun wasn’t fully behind me suffered from flare. The more sun, the more flare. That’s to be expected from an uncoated lens. The flare made some shots unusable. I suppose if I shot this camera all the time I’d get used to checking the position of the sun.
On the way home from Rochester I stopped in Burlington for dinner and shot this scene. I hadn’t looked online yet to discover the ranges to which the two lens positions focused. So I left the lens extended, shot mostly distant subjects, and hoped for the best. I was absolutely within 18 feet for this shot, but it’s reasonably in focus. I did enjoy the plunger shutter button and the self-cocking shutter, which are unusual features on a camera of this era. All I had to think about was exposure. If the viewfinder were more usable, I would have composed this shot better.
A handful of shots on the roll came back foggy and blurry, as in this photo of an angel statue in the cemetery near my home. I couldn’t tell you why this happened. Shrug.
Another quirk of using the A2B: the film won’t wind unless you first slide to the left that little knob below the frame counter atop the camera. The frame counter on mine is so pitted as to be useless, which is part of why I had no idea while shooting whether I’d shot the whole roll yet or not.
Also, the A2B offers no double-exposure protection, so you probably ought to always wind after shooting to ensure the frame you’re shooting is not yet exposed.