McCormick’s Creek State Park is Indiana’s oldest state park, opened in 1916 as part of our state centennial celebration. It’s near Spencer in Owen County, about 60 miles southwest of Indianapolis. I met my younger son there a few weeks ago. He lives nearby, and thanks to the pandemic it had been months and months since we saw each other.
We hiked some of the park’s trails, and ended up on one that hugs the creek itself. As you can see, it’s quite rocky. One of the trails requires crossing the creek. I did that on a long-ago visit and ended up soaking my shoes. Not wanting a squishy hike, we stayed to one side of the creek.
The highlight of the trail is the little waterfall.
Hiking along the creek can be quite rugged. I wore flat-bottomed sneakers that were not up to the task of climbing rock. Why did I not think to put on my waterproof hiking shoes? Fortunately, most of the trail is just a nice walk through the woods.
The highlight of the day for me, aside from getting to see my son, was coming upon these horses. The park offers guided trail rides.
Finally, I made a portrait of my son. I didn’t think the shadow across his body would come out with such strong contrast — it wasn’t so strong when I composed.
I made all of these with my Nikon F2AS and the big honking 35-105mm f/3.5-4.5 Zoom Nikkor lens on Fujicolor 200. Fulltone Photo did the developing and scanning.
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.
Old State Road 46 Nikon F2AS, 50mm f/2 AI Nikkor Fujifilm Fujicolor 200 2013
State Road 46 stretches across Indiana from Terre Haute to almost Ohio, east to west across south-central Indiana.
At one time, SR 46 extended through Terre Haute all the way to the Illinois state line. It ran through Terre Haute along a series of what are now city streets.
The road was truncated to Terre Haute’s eastern edge long before Interstate 70 was built through the south side of town. That new highway cut across State Road 46’s original path just south of town, slicing the old highway in two.
A little segment of old State Road 46 north of I-70 is this brick road, left intact even though it goes nowhere because it serves two businesses. This photo faces north. To follow old 46, veer left at the first stop sign. Then at the second stop sign, take a slight right to where the red car is in the photo.
It would have been much better to share these photos closer to the day I made them, which was the first of July. The nationwide protests were still happening then, in the wake of George Floyd’s death in the hands of Minneapolis police.
I had been avoiding Downtown. But my work laptop quit working and corporate IT needed me to bring it in for repair. That meant a visit to our Indianapolis office in the heart of the protest area. I knew I’d be seeing my city all boarded up, so I took a camera. But I shot film, and film takes time, especially since I shot color and have to send it out for processing.
This is the building in which I work. It’s on both the Michigan and National Roads, better known as Washington Street in Indianapolis. Walking up to the building, I felt like I’d stepped into an episode of The Twilight Zone. I was saddened, and I felt a little anger deep down, both over the destruction and the generational, pervasive poor treatment of Black Americans that led to it.
After IT fixed my laptop I walked up and down Washington for a few blocks. This is what I saw there.
After seeing photos of colorful murals on boarded-up windows in other cities, the many bare boards on Washington Street surpried me. Maybe it’s the same in other cities, but nobody shows the unpainted boards.
After a few blocks, I turned around and walked to Monument Circle, the heart of Downtown.
The southeast quadrant of the Circle was closed to traffic for the weekly summer farmer’s market. It is normally held a few blocks away on Market Street, between City Market and the City County Building, but street work there has moved the market to the Circle all summer. I felt encouraged to see it there. I’d seen a number of news photos of protesters on the Circle, including heartbreaking photos of a minivan driving right into some protesters. The farmer’s market felt to me like a reclaiming of the space for good, normal life.
I’m infuriated that as a nation we still don’t treat Black people with the full honor and respect due any human being. I hope these protests, along with those across the nation, cause us to finally face and change our shameful racist behavior.
Seeing my city like this was hard. But it’s even harder for my Black neighbors that they have had to live for so long with fear and anger.
I enjoy using my Olympus OM-1 from time to time. My film-photography friends all have encouraged me to get an OM-2 or OM-2n, as it offers all of the OM-1 goodness with aperture-priority exposure, my favorite way to shoot. I held off because I couldn’t find one at a price I was willing to pay. They’re not expensive, not really; you can find good ones for under $100. I’m just a cheapskate. My reticence paid off — a reader recently donated this Olympus OM-2n to the Jim Grey Home for Wayward Cameras!
The OM-1 came first, of course, in 1972. In 1975, Olympus introduced the OM-2, which added an electronic shutter and aperture-priority exposure. Then in 1979, Olympus released the OM-1n and the OM-2n, both of which offered a few improvements over the original models.
The OM-2n is a 35mm SLR featuring an electronic focal-plane shutter operating from 1/1000 sec. to 1 sec. in manual exposure mode and a whopping 120 sec. in aperture-priority mode. It offers through-the-lens metering with a clever inner shutter curtain imprinted with black and white blocks that mimic an average photograph. The meter reads light that bounces off those blocks.
You set film speed, from ISO 12 to 1,600, with a dial atop the camera next to the winder. Lift the dial and twist until your film speed appears in the window, then lower the dial and twist until the line from the window points at the tick mark. That mark can be hard to see. This dial also lets you adjust exposure by up to two stops in either direction.
The OM-2 is a system camera with interchangeable focusing screens (see a list here) and interchangeable backs. I know of two backs: a data back (one of which I have but have never used) and a back that lets you shoot up to 250 frames of bulk film. My OM-2n came with a 1-12 cross-hairs screen inside, but also with a smattering of other screens. I found a 1-13 microprism/split-image screen among them and swapped it in.
Unlike the OM-1, the OM-2n needs batteries to work. Without a battery, when you press the shutter button, the mirror stays in the up position. I’ll bet a lot of people think this means the camera is broken! Pro tip: insert two fresh SR-44 batteries and move the switch atop the camera to Reset. The mirror will come right down and you’ll be good to go.
Speaking of batteries, the OM-2n natively takes two silver-oxide SR-44s. It was designed for them. That alone makes the OM-2n a wonderful choice for a film photographer today. So many other old cameras take now-banned mercury batteries and/or batteries of an odd size. You’re stuck ordering silver-oxide or alkaline equivalent batteries online, which carry different voltages than the mercury originals. In theory that could mess up your exposures, although I think that worry is overblown. In contrast, you can buy SR-44 (also known as 357 or 76) batteries at any drug store!
The OM-2n is so pleasant to use! Because it’s small and light, you can sling it over your shoulder and shoot fatigue-free all day. The controls all feel precise and smooth, even luxurious. The OM-2n is solidly built.
If you like small 35mm SLRs, also check out my review of the original Olympus OM-1 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.
For most of my camera reviews I shoot just one roll then write up the camera. But I enjoyed the OM-2n so much that I put three rolls through it. The first one was Kodak T-Max 400 which I developed in LegacyPro L110 Dilution H (1+63).
This OM-2n came with a bunch of lenses. I tried the 40mm f/2 Zuiko Auto-S first. It’s a delightfully thin and light lens, and it focuses from 10 inches making it almost a macro lens. It handled beautifully on the OM-2n.
I shot the OM-2n while Indiana was slowly reopening after coronavirus lockdown. We decided to take a walk along Main Street in Zionsville one Thursday to find the street closed to traffic. Tables and chairs were set up for people to buy dinner at local restaurants and eat outside. It felt like too many people in too little space to us, and we didn’t linger.
This camera also came to me with a 21mm f/3.5 Zuiko Auto-W lens — yes, that’s right, 21mm. I’ve never shot a lens so wide! I made a few photos with it but will explore it more deeply later.
I loaded good old Fujicolor 200 next and mounted a 50mm f/3.5 Zuiko Auto-Macro lens. This lens lets you focus from 9 inches.
I shot a lot of flowers on this roll. The OM-2n continued to handle flawlessly. It achieved that holy-grail state of seeming to disappear in my hands — I composed, focused, and shot fluidly, as if the camera were an extension of my eye.
My, but do I love moving in close with a camera. This suncatcher hangs in our back door window. My mother-in-law made it.
This lens is just a peach. Look at that up-close sharpness, and look at that bokeh. Given the hexagonal shape of the light points in the background, you should not be surprised to learn that this lens has six aperture blades.
A 50mm macro lens is fine for non-macro photography, as well. I took it on a bike ride around the neighborhood and made a few photos.
Because the OM-2n offers aperture-priority shooting, it eliminates my top complaint about OM-series cameras: the shutter-speed ring is around the lens mount. Every other major camera maker made it a dial on the top plate next to the shutter button. But shooting aperture priority means I never have to change the shutter speed.
I made all of these photos during the COVID-19 pandemic. I was fortunate to keep my job and be able to work from home. But my work computer needed service while I was using the OM-2n. I had to take it to the office Downtown for IT to look at it. I loaded another roll of Fujicolor 200 and walked around Downtown after IT fixed my computer. This was a couple weeks after the riots motivated by the death of George Floyd in Minneapolis. In Indianapolis, some windows were broken and there was some looting. Many buildings boarded up their windows as a protective measure.
I used the 40mm lens for this walk. It was a good focal length — wide enough that I didn’t have to back out into the street to get a good look at a scene.
I’ll share more from this walk in an upcoming post. I’ll wrap up with this photo of the outside seating at the Downtown Five Guys. A Five Guys cheeseburger is such a calorie bomb, but it is so good.
The Olympus OM-2n is a fantastic 35mm SLR: compact, light, precise, smooth. The Olympus Zuiko lenses are similarly fantastic optically, and are solidly built with great feel in the hand. If you could have only one manual-focus 35mm SLR, the Olympus OM-2n would be an outstanding choice.
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.