I’m smitten with the great color and sharpness my Yashica Lynx 14e delivered on Fujifilm Superia X-tra 400 the day I walked around Zionsville.
It was a rare sunny day this extra-gray winter. After a heavy snow event the temperatures rose to near 50 degrees and so the streets were full of puddles.
I photograph Zionsville a lot now that I live here, usually the charming Main Street. This day I walked along some of Zionsville’s back streets and alleys looking for interesting compositions.
The town was chartered in 1852 and many buildings and homes from the last half of the 19th century remain. Some of them have been repurposed, like this little church that is now someone’s home.
This green house at the north end of Main Street is probably my favorite in town, and I’ve photographed it over and over. Zillow says it was built in 1918, and has 3 bedrooms and 3.5 bathrooms.
Zillow also says that this house is worth about a half million dollars. That’s a huge amount of money for a house in Indiana. The same house in Indianapolis would go for far, far less. “The Village” in Zionsville can command these prices because it’s such a charming place to live. Margaret and I would love to move to the Village, but unless we luck into an incredible deal its home prices put it out of our reach.
Red umbrellas at the Brick Street Inn Yashica Lynx 14e Fujifilm Superia X-tra 400 2019
This isn’t one of my finest compositions, but I love how the Yashica Lynx 14e captured the light and detail of this scene. Also, the reds and blacks here are so good you’d think this was Kodak Ektar, not Fuji 400.
The 1968 Yashica Lynx 14e is a fixed-lens rangefinder camera that packs an incredible lens — 45mm at a whopping f/1.4.
I first shot the Lynx 14e on a road trip with Kodak T-Max 400 inside. The results blew me away. Just look at those creamy tones, that crisp detail! Even four years after making this photo, looking at it still floods my brain with pleasure hormones.
Here’s one more past photo from this camera, which adores being shot inside on fast black-and-white film. This time I used Arista Premium 400 (discontinued; I miss it). I photographed this Auburn Model 654 at the factory museum in Auburn, Indiana. Just look at this excellence. Look. At. It. So good!
All is not perfect with my Lynx 14e: it underexposes by a stop. It’s not the end of the world, because I just set exposure a stop lower (say, EI 200 when shooting ISO 400 film) and all is well. But if I keep the camera, I’ll send it for CLA and have the meter calibrated.
Its meter is powered by two PX640 batteries, of the mercury type that has been banned for years. I own no other camera that uses this battery. Fortunately, you can buy alkaline batteries of this size on Amazon for a few dollars. The voltage is slightly different but if you’re shooting negative film it shouldn’t matter.
Since I wanted to see how this lens likes color film, I loaded some Fujifilm Superia X-tra 400. Also, it was the dead of winter and the gray days called for fast film. I started shooting stuff around my house.
This lens finds whatever’s interesting about the light, and enhances it.
These images are short on shadow detail. I tried to bring it out in Photoshop but it just wasn’t present.
We got a rare day of full sun in early February so I took the Lynx into town to make a few photos. I dropped the camera’s ISO setting another stop for these photos, for two reasons: this film loves to be overexposed, and I wanted a little exposure flexibility as otherwise every shot would have been at 1/500 sec. and f/16.
I’ve never seen Superia X-tra 400 look this good. I got Portra-like color from it.
Other reviews of this camera have panned how you activate the camera’s meter: you press the amusingly named “Switch” button on the front of the camera. The consensus is that it’s awkward. But I’ve never had any trouble.
What I did have trouble with, on this full-sun day, was reading the red OVER and UNDER indicators in the viewfinder window. They light when exposure is wrong; you adjust aperture and shutter speed until they disappear. They blaze bright in muted or inside light. Direct sunlight washes them out.
When I evaluate a camera, I like to take it on a solid photographic assignment so I have a chance to bond with it. Unfortunately, cold and snowy February is the worst month of an Indiana year for photography. It took me weeks to get through the roll, sneaking in a shot here and there as I could. It didn’t create the best experience with this heavy camera.
Moreover, even after thinning my herd as far as I have, I still own more cameras than I can shoot regularly. It is just a flat shame to own a good camera I seldom or never use. I’m not sure how often I’ll get around to shoothing my Yashica Lynx 14e.
Still, I continue to be bowled over by the sharpness, detail, and tonal range this lens delivers. This camera deserves more of my time.
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.
Meet the camera that scolds you. Check distance! Too dark, use flash! Load film! It’s the Minolta Talker, aka the Minolta AF-Sv.
This camera came to me from the father of an old friend. He sent me his entire collection, and this was in it. I didn’t expect much from it, but on a sunny summer day Fujicolor 200 delivered slightly underexposed but soulful results.
As a result I’ve been looking forward to this camera’s turn in Operation Thin the Herd. When that turn came it was late November and early December, and the days were dismally gray. The voice in my heart said, “It’ll be fine! Great pics ahead!” while the voice in my head said, “This isn’t going to work out well.” I loaded Fujifilm Superia X-tra 400, thinking I’d need the extra exposure margin. Even so, this camera underexposed consistently, to muddy and mottled result. I should listen to my head more.
Let’s get it out of the way right now: that the camera talks is a useless gimmick. “Too dark, use flash” is all I can get mine to say, and that message would be more effective as a beep or a light. I shut the voice off. Speaking of flash, I’m not sure the one on my Talker works.
The camera does work all right inside with enough ambient light, though. This was our Thanksgiving table. The china is Rosenthal from Germany and has been in my mother’s family for three generations. The purple water goblets are from Walmart, because this family knows better than to be too uppity.
The AF-Sv handled all right. It’s a chunky camera so it doesn’t fit satisfyingly into the hand. But it’s easy enough to frame in the big viewfinder and the shutter button is where my finger expected it to be. It slipped right into my winter coat’s big front pocket. I had appointments all over town and up in Lafayette, and it went along on all of them.
I did get about thirty minutes of sunshine in Lafayette, and it made all the difference to this camera. I had bright light when I shot the church door that leads this post, too. The shot below shows the sharpness this lens can deliver.
Every last photo needed a hit of Auto Tone in Photoshop to be true to color though — especially shots I made on a drizzly day in Downtown Indianapolis. Here’s where an auto-everything point-and-shoot shines: this ’70s truck came along and I was able to capture it lightning fast.
Lesson learned, though: shoot this camera on a sunny day, and overexpose by a full stop. The only way to do that on this camera is to dial in the appropriate ISO to get that net result, such as ISO 200 for ISO 400 film. The ISO dial is around the lens.
This camera also struggled to focus close in anything other than great light. I wanted the fellow in front of this strange sports sculpture to be the subject. He’s farther away than the camera’s close-focus limit.
I was disappointed in how this camera performed on this outing. Maybe I expected too much of it. It’s got to be hard to make an auto-everything point-and-shoot that gets everything right every time. But I can’t imagine shooting this camera ever again.
Why have I not used my Olympus OM-1 more? This is such a wonderful camera — compact, precise, capable. It sparked the SLR fever that has so heavily influenced my collection. Could my subsequent SLR promiscuity simply have kept me from loving this camera fully?
Probably. But I also know I’ve hedged on using it because I never got used to setting shutter speed on the lens barrel. What a wealth of great gear I have that this one little thing led me to favor other SLRs. But really, this is my only gripe. The OM-1 otherwise feels like a luxury item in my hands. Everything about this camera oozes excellence.
I own two OM-1 bodies, this minty silver-topped body (review here) and a slightly worn all-black body (review here). I made the above shot with the silver top on Kodak BW400CN, and the shot below with the black top on Fujicolor 200, both with the 50mm f/1.8 F.Zuiko lens.
While I shot the silver-topped one this time, I’m including both bodies in this evaluation. They both stay or they both go. These cameras came to me with a bunch of lenses from the father of a dear friend, and I want his whole kit to be a single unit. With that, I mounted the close-focusing 50mm f/3.5 Zuiko Auto Macro lens that came with the kit, dropped in some Kodak Gold 200, and went looking for little flowers to shoot. I don’t know why this little blue chicory flower came out purple, but I don’t care, I love the photo.
I made these photos as summer was ending. There were plenty of little flowers left to photograph.
I even moved in close to this railroad spike on some abandoned tracks. I love the colors this lens picked up in the blurred background. I’m not sure my Pentax or Nikon lenses would have seen them.
You can use a macro lens for normal work, too. This one acquitted itself well.
The 50/1.8 and the 50/3.5 Auto Macro were the only Olympus Zuiko lenses in the kit. He also owned a 70-150mm f/3.8 Vivitar Close Focusing Auto Zoom, a 100mm f/4 Portragon, and a big 500mm f/8 Spiratone Mintel-M mirror lens. I’d never shot some of these lenses, so I tried them this time on a roll of Fujifilm Superia X-tra 400. First, here’s a big green highway sign that is about a half mile away from where I was standing. I had to put the camera on a tripod to steady it enough for this shot, which shows the 500mm Spiratone’s resolving power. Which is only okay, by the way. But in its day it was an inexpensive way to get a long lens.
Spiratone was a mail-order house for inexpensive photographic accessories. The 100mm Portragon lens is also a Spiratone product. It was meant for portraits, obviously, but I didn’t have anybody handy so I just shot stuff with it. It created an out-of-focus effect around the center of the image. The best of my Portragon shots was of this Subie’s snout.
I finished off the roll with the 50/1.8. I placed the OM-1 on my tripod, set the self-timer, and got this photo of me in our front yard.
Finally, I moved in close to these blue seed balls for one last 50/1.8 photo.
The OM-1 almost makes up for its awkward shutter-speed ring by placing a rewind release on the camera’s front. You turn it to the side and then crank to rewind. Most SLRs place a release button on the camera bottom, and in most cases you have to hold that button in the entire time you’re rewinding. It’s awkward. The OM-1’s system is so easy in contrast.
While I’m going to focus the SLR portion of my collection on Pentax and Nikon, I won’t part with my OM-1s. I feel like I’m this kit’s chosen steward. And they’re just so lovely to use, weird shutter-speed ring notwithstanding. And so this gear stays in my collection.
Ike & Jonesey’s Nikon N90s, 28-80mm f/3.3-5.6G AF Nikkor Fujifilm Superia X-tra 400 (at EI 200)
It’s funny how when I go Downtown to have fun, I tend to stay north of Washington Street, which is the north-south dividing line in Indianapolis. I don’t do it on purpose — that’s just how it works out. But now that Margaret has a job Downtown but south of Washington, I’ve walked those Downtown streets and have found that there’s fun to be had there too.
Ike & Jonesey’s has kept their party going for 25 years now. When I moved to Indy in 1994 I remember hearing ads for them on the radio. I guess they have (had?) a very popular dance floor. Finally I know where they are located. Not that I dance. Heavens no.