Film Photography

A new (old) scanner

I’ve been unhappy with the 35mm scans my Canon CanoScan 9000F Mark II produces. They lack sharpness and shadow detail. I’ve done everything I can figure out in VueScan to make them better.

I’ve complained about this before, and reader P paid sharp attention. He contacted me recently to recommend a dedicated 35mm scanner he found used for a good price, refurbished, at KEH. I bought it straightaway.

It’s the Minolta DiMAGE Scan Dual II, which was manufactured in about 2003. This scanner’s maximum output is 2,820 DPI, yielding images of roughly 3680×2580 pixels. That’s nearly 10 megapixels, which is enough for anything I do with my images.

When it arrived, I quickly scanned a negative strip from a roll of Ilford Delta 400 I shot in my Olympus XA in December to make sure the scanner functioned. It did, but my scans weren’t sharp. So I tried again later with the same strip, digging into the manual and into VueScan’s settings to get focus right. I got very good sharpness that time.

I’m going to show you all four frames from both scanners. In each pair, the Scan Dual II scans are first and the CanoScan 9000F scans are second. I’ve tweaked both in Photoshop to my liking, within the limits of the scan — but the ScanDual scans didn’t need very much help. They are far better than the CanoScan scans, especially in contrast and sharpness. The contrast is apparent right off, but you need to see these scans at full size to appreciate the sharpness difference. To do that, click to see them on Flickr and then click them there to see them larger.

At McCormick's Creek State Park
At McCormick's Creek State Park
At McCormick's Creek State Park
At McCormick's Creek State Park
At McCormick's Creek State Park
At McCormick's Creek State Park
At McCormick's Creek State Park
At McCormick's Creek State Park

Even though the Minolta is 17 years old and relies on a USB 1.0 interface, I got scans faster than I ever do from the Canon. This is in part because VueScan was able to accurately detect frames in the Minolta, and it can’t in the Canon for some reason. I have to painstakingly select each frame before scanning.

The Minolta scans are far sharper than the Canon scans straight off the scanner. No amount of Photoshopping can make the Canon scans look sharp, while a tiny bit of unsharp masking makes the Minolta scans look great.

This scanner’s native software doesn’t work with Windows 10. Fortunately, VueScan recognized this scanner instantly and was ready in seconds to make scans from it.

I kept going, this time with a strip of color film. This is Fujifilm Superia X-tra 400, shot in my Olympus OM-2n using the 50mm f/3.5 Olympus Zuiko MC Auto-Macro lens. I sent this film to Fulltone Photo for developing and scanning. My scans from the Scan Dual II are first, and Fulltone’s scans are second. I adjusted VueScan’s settings as best I could but still got rather cool scans. So I adjusted white balance and a few other settings on them in Photoshop.

The Scan Dual II scans are not far better than the Fulltone scans. I rather prefer the color Fulltone delivered — but it could be that after all these years I’m just used to the color a lab’s Noritsu scanner delivers. Now that I’m looking at these again, the ScanDual scans might have a slight magenta cast, and removing it might help. Yet these scans are acceptable for the day I might choose to develop color film at home, or wish to rescan an old color negative.

Tree tunnel
Tree tunnel in autumn
Harvested
Harvested
Harvested by the barn
Barn in the harvested field
Abby and Amherst
Abby & Amherst

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Film Photography

Shooting the 50mm f/3.5 Olympus Zuiko MC Auto-Macro lens on the Olympus OM-2n

All of the major SLR manufacturers made close-focusing macro lenses in 50 or 55mm focal lengths with maximum apertures ranging from f/2.8 to f/4. They won’t replace a 50mm f/1.8 lens for low-light shooting, but they’re a fine choice for everyday photography in good light. Most of their focus range is toward the close end. For non-macro work, you can just focus these lenses to infinity and go.

Olympus’s 50mm macro lens comes in four variations. I’m pretty sure the optical design is identical among them.

  1. Marked Olympus OM-System Zuiko Auto-Macro 1:3.5 f=50mm, single coated, silver-tipped outer ring.
  2. Marked Olympus OM-System Zuiko Auto-Macro 1:3.5 f=50mm, single coated, black outer ring.
  3. Marked Olympus OM-System Zuiko MC Auto-Macro 1:3.5 f=50mm, multi-coated, black outer ring.
  4. Marked Olympus OM-System Zuiko Auto-Macro 50mm 1:3.5, multi-coated, black outer ring.
OM Zuiko MC Auto-Macro 1:3.5 f=50m

Until recently I owned three of these lenses: two of the third type and one of the fourth. I passed the latter along to its next owner recently. Of the two that remain, the first came from the father of an old friend and it’s in mint condition in a hard case. The second one came from a reader who donated a great deal of Olympus OM gear to me this year. This lens looks like it got a lot of use.

I mounted this lens onto my Olympus OM-2n and took it out on some of my last bike rides in October, and on some walks around the neighborhood after that. I shot Fujifilm Superia X-tra 400 in it. Of course, it did lovely close work.

Leaves
Leaves
Rose

This lens tends to flare when you shoot into the sun. I rather like the effect in this photo.

Leaf flare

I enjoyed shooting other things with this lens because I could just leave it focused at infinity.

Barn in the harvested field
Suburban autumn
Autumn country road
Suburban autumn

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Tree tunnel in autumn

Tree tunnel in autumn
Olympus OM-2n, 50mm f/3.5 Zuiko Auto Macro
Fujifilm Superia X-tra 400
2020

It’s been about six weeks since my last bike ride. I don’t like to ride when temperatures are below about 60 degrees, which they have been except for one or two days during this time. When it looks like warmer days are over, I hang up the bike.

On my final ride of the season I brought my Olympus OM-2n along. One particular route of about eight miles takes me down some beautiful country roads here in southeastern Boone County. This tree tunnel is on one of those roads.

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Film Photography

single frame: Tree tunnel in autumn

A tree tunnel in rural Boone County, Indiana.

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Bus

Yellow VW bus
Pentax IQZoom 170SL
Fujifilm Superia X-tra 400
2020

I’ve always had a soft spot in my heart for air-cooled VWs. As a small boy I used to sit on the front stoop and watch the cars go by on the busy road at the end of our street, and count the VWs.

It was the early 1970s, and the hippie era wasn’t over yet in Indiana. I remember a family up the street that had three teenage daughters who shared a white-over-orange VW Bus of this vintage. They dressed like flower children, but their parents wouldn’t let them paint the bus like flower children did in those days with big flowers all over it.

The mother of a middle-school friend drove one of these in white over blue. I rode in it a handful of times, the only times I’ve ever been in one of these. I loved its commanding front visibility and the relatively high seating position. In those days, regular cars rode so low!

When Chrysler introduced its minivan and it became wildly popular, I remember wondering why, as VW pioneered the form factor with its Bus. But Chrysler’s water-cooled, front-engined, front-wheel-drive minivan was a mainstream vehicle and VW’s Bus would only ever serve a niche.

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Film Photography

single frame: Yellow VW bus

A nice yellow VW Bus I found on a photo walk. I’ve always liked them.

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Camera Reviews

Pentax IQZoom 170SL

From the 1980s to the early 2000s, camera manufacturers manufactured as many compact point-and-shoot cameras as stars in the sky. Or so it seems. eBay lists billions and billions of them at any moment, at any rate. So many of them are crap, making it a crapshoot to find the good ones. So many are wildly overpriced. A tip: Pentax’s compacts in the IQZoom and Espio series are usually good, sometimes great — and are bargain priced. Like this one, the Pentax IQZoom 170SL.

Pentax IQZoom 170SL

The IQZoom 170SL is small: just 4.5×2.25×2 inches. But it packs a long lens, a 38-170mm f/5.6-12.8 SMC Pentax Zoom, of 8 elements in 6 groups. Did you catch that? SMC! Super Multi Coated! Just like all the great Pentax SLR lenses. Not all IQZoom/Espio cameras come so equipped. If you don’t see SMC on an IQZoom’s lens bezel, it doesn’t have an SMC lens.

Pentax IQZoom 170SL

The 170SL’s electronic shutter operates from 1/360 to 2 sec. It reads the film canister’s DX code to set ISO from 25 to 3200. Avoid non-DX coded films, as the camera defaults to a not-useful ISO 25. It focuses automatically, using a phase-matching five-point system. At the lens’s wide end it focuses from 2.45 feet; at maximum zoom from 3.9 feet. It sets exposure automatically.

Pentax IQZoom 170SL

The buttons atop the camera control its functions. One is for flash and shutter modes. When you turn the camera on, it uses flash when low light demands it, unless you turn flash off with this button. It also lets you force flash on and choose long shutter speeds, including bulb mode.

The middle button controls the autofocus, including infinity focus lock and spot focus. The next button turns on the self-timer and a wireless remote shutter control. My 170SL didn’t come with the remote, so I couldn’t try it. The right button sets the camera’s date and time. Some 170SLs don’t have this button, apparently. If you set a date and time, it imprints onto the negative.

The viewfinder offers diopter adjustment, a very nice touch. Move the slider on top of the viewfinder pod until the view is crisp.

The camera loads your film, winds, and rewinds automatically. You load the film upside down from the right side, which is a little odd. A single CR2 battery powers all.

This was an expensive camera: $433 when new. You could get a Pentax 35mm SLR kit for about that then!

If you like point-and-shoot 35mm cameras, check out my reviews of the Yashica T2 (here), the Pentax IQZoom EZY (here), the Nikon Zoom Touch 400 (here), the Olympus Stylus (here), the Olympus Stylus Epic Zoom 80 (here), the Olympus mju Zoom 140 (here), and the Kodak VR35 K40 (here). Or check out all of my camera reviews here.

I put a roll of Fujifilm Superia X-tra 400 into the 170SL and took it to downtown Zionsville one evening. Most places were closed thanks to the COVID-19 lockdown, so we had Main Street largely to ourselves. Here’s my favorite photo from the roll.

T-shirt in the shop window

The IQZoom 170SL was an easy companion on this walk. It is very light but feels solid. Every control fell right to hand. It took me no time at all to blow through all 24 exposures on the roll.

Window

The zoom worked smoothly but a little slowly, with a soft whirr. Winding was similarly quiet. I’m impressed with how the autoexposure system navigated mixed lighting.

Curbside carryout

I’m impressed with the sharpness and bold color I got. This camera made Fuji 400 look better than I’ve ever seen it.

Bus by the salon

Next to the viewfinder are green and red lights. The green light glows when autofocus has a lock. The red light blinks when flash is charging and glows steady when flash is ready. In this fading light the flash fired a lot. I knew when I photographed this sign the flash would reflect. So I turned flash off and the long-exposure mode on and shot it again. That shot turned out soft.

Harold's, flash
Harold's, no flash

In dim corners the 170SL gave surprisingly shallow depth of field.

Pink posies

That roll flew by so fast I barely got a feel for the camera. So I loaded some Fujicolor 200 and took the camera on a lunchtime walk through the shopping centers near my home. I was glad for a bright day, as full sun is so often a challenge for point-and-shoot cameras. Not so the 170SL. Just look at that color!

America's diner

I detect a whiff of pincushion distortion here, but overall I find this lens to suffer little from distortion. Again: just look at that color!

Old Navy

I find yellows commonly wash out on consumer color films, but the 170SL brought it in, big and bold, every time. This photo shows a little vignetting which I suppose is to be expected from a compact zoom camera.

We're open

The 170SL even rendered black impressively deep and true.

One way

I forgot to mention earlier that the 170SL has a panorama mode. A switch on the bottom moves masks in place over the film and in the viewfinder.

Panorama

That scene was too far away, so I zoomed in to the max and shot again. At 170mm it’s hard to hold the lens steady.

Close-up panorama

I did manage one decent 170mm shot. For this one, I stood square, breathed steadily, and squeezed the shutter button slowly. It’s still soft, but not due to shake this time. That’s just how maximum zoom goes on these point-and-shoot cameras, in my experience.

Bell de tacos

To see more photos from this camera, check out my Pentax IQZoom 170SL gallery.

I’m impressed with the Pentax IQZoom 170SL. Actually I’m blown away by the bold, rich color I got on everyday color film. I plan to put a couple rolls of black-and-white film through this camera to see how they perform. If they wow me as much as these color rolls did, I might just have a keeper!

If you like old film cameras, check out all of my reviews here!
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Bridge on State Road 225

The last one-lane bridge on an Indiana highway
Pentax ME, 35mm f/2.8 SMC Pentax-A
Fujifilm Superia X-tra 400 (shot at 200)
2018

Indiana State Road 225 runs just four miles, from State Road 43 a few miles north of Lafayette, through the small town of Battle Ground, through Prophetstown State Park, to a road that used to be State Road 25.

This four-span Pratt through truss bridge was built in 1912, before there was any sort of state highway system here. A stoplight at either end controls traffic so nobody has to play chicken on the bridge. Given that only about 950 cars cross it every day, I’m sure the state has never been terribly motivated to build a two-lane bridge here.

But that day might need to come soon. At its last inspection, this bridge was judged to be in poor condition, its structure requiring corrective action.

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Film Photography, Preservation, Road Trips

single frame: The last one-lane bridge on an Indiana highway

A barrel shot of a one-lane bridge on Indiana State Road 225.

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