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.
I have been happy overall with the scans I get from the labs I use. I punch them up a little in Photoshop but they’re usually usable as is. But as a frugal dude I’m always looking to cut costs, and lab scans aren’t cheap.
My wife bought us a Canon CanoScan 9000F Mark II scanner a couple years ago. It scans both 35mm and medium-format negatives. It’s an upgrade over my previous scanner, an Epson V300, which handles only 35mm.
Life’s been stupid crazy since then and I haven’t made time to play with the CanoScan, except for the quick scans I made of my mother-in-law’s 1940s-50s Kodachromes (see some here, here, and here). They turned out well enough using the bundled ScanGear software.
I was pleased, but surprised. The software Epson bundled with my V300 was terrible, and I expected Canon’s bundled software to be, too. So the other night, too tired to sleep, I got out some recent color negatives and scanned them with the CanoScan and ScanGear. I then edited the scans in Photoshop until I was reasonably satisfied.
I was thrilled that ScanGear automatically removed the color negative’s orange mask. The Epson software couldn’t do that and it was a pain to sample and correct for the mask. I never got it right.
I’m still building my scanning skills and knowledge, so this comparison is bound to be flawed. But here goes: my first CanoScan/ScanGear image. Yashica Lynx 14e on Fujifilm Superia X-tra 400.
Fulltone Photo of La Grange, Kentucky, processed the film and scanned the negatives on their big Noritsu scanner. I Photoshopped those scans to my satisfaction, too. But even the base scans offered dramatically better sharpness, color, and tonality than the CanoScan.
I couldn’t resolve considerable softness in many of the images. This photo of a green house shows it best. The CanoScan/ScanGear scan:
The Fulltone scan is obviously sharper, even at blog resolution.
This negative was loaded with dust, or maybe scratches as no amount of cleaning ever cleared it up. So I turned on ScanGear’s dust and scratch removal. It cleaned up the marks, but added unsatisfying mottling on the shadowy parts of the image.
The Fulltone scan is better by a mile.
The ScanGear scans aren’t good enough. Yet. I haven’t mastered this software. If I keep experimenting, I might get better scans.
Or I could buy VueScan or SilverFast. I already own SilverFast for the Epson V300 and know it to be cumbersome and frustrating but effective. The scans still aren’t fully lab quality but they’re close enough.
Unfortunately, my copy of SilverFast works only for Epson V300 scanners. I’d have to buy a copy made to work with the CanoScan 9000F Mark II. The cheapskate within me urges me to try again with ScanGear.
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.