Film Photography

Ilford FP4 Plus in LegacyPro L110

I recently got decent results developing 120 Ilford FP4 Plus in LegacyPro L110, Dilution B (1+31). The more I use this Kodak HC-110 developer clone, the more I like it. Meet my colleague Ishank.

Ishank

And this is Trent. We met for lunch Downtown on a warm autumn day. A particular cheeseburger joint has plenty of outdoor seating.

Trent

We met for lunch on Indianapolis’s popular Massachusetts Avenue (“Mass Ave,” we all call it). We met on the block in the photo below thinking we’d hit the fried chicken place, but we learned that during COVID they’re not serving lunch. So we walked up the street and found the cheeseburger place open.

Stout's on Mass

In many shots, blacks went to 100% and there was no detail available to retrieve in Photoshop. Areas of Ishank’s hair, beard, and T-shirt came out fully black. In the photo below, note especially the side of the truck in the foreground, and the slacks of the woman in the mural.

Mass Ave

I probably underexposed those photos. I should have metered for the shadows, especially in the photo above where the light is so mixed. Instead, I started the meter app on my iPhone, aimed it at the middle of the scene, and set the Yashica-D to whatever it said. I would do well to be more disciplined in my metering technique. Fortunately, my hasty technique worked fine in even lighting, as in the scene below.

1915 Room

I shot these in my Yashica-D. I use my Yashica-12 more often because of its built-in meter and easy crank winding. But the D is still a lovely camera. Its Yashikor lens, a triplet, gives a lovely swirly bokeh (see the portraits above) that the 12’s Yashinon lens, a Tessar clone, can’t match. People in the photo forums decry the Yashikor’s softness compared to the Yashinon, but I find the Yashikor to be plenty sharp.

Prayer Request

Speaking of sharpness, I continue to learn so much from your comments. On my recent post about Kodak Panatomic-X film, Ted Marcus recommended deconvolution sharpening over unsharp masking. I searched the Internet for more info and learned that you can do it natively in Photoshop’s RAW editor. This article explains. I like the effect better than unsharp masking. The real test will come when I try it on 35mm scans.

Mowed down cornfield

I took the Yashica-D on a drive one chilly lunch hour and stopped in some familiar places. If I had known that fellow was going to bike into my frame, I would have waited a second or two longer so he would have appeared in a more interesting spot!

Wrecks, Inc.

I like shooting 12-exposure rolls of film when I’m shooting aimlessly like this. One good photo walk, or two or three short photo walks, and its into the developing tank with the roll. It also reminds me of my early days making photos in my little Kodak Brownie Starmite II and later in my crappy Imperial Magimatic X50. I had no choice but 12 exposures in the Brownie on 127 film. I could buy 20- (and later 24-) exposure 126 cartridges for the Magimatic, but often bought 12-exposure cartridges because they were less expensive. I had so little money then. I hadn’t worked out yet that it was more economical per frame to buy the 20-exposure cartridges, especially when you factored in developing and printing.

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Collecting Cameras

Operation Thin the Herd: Certo Super Sport Dolly

Statue before the big house

Yes, Operation Thin the Herd is still running. The pace has slowed to a crawl, however. I’ve been distracted by cameras donated to the collection since this project began, which is a wonderful problem to have. I’ve also wanted to shoot some of the cameras I’ve kept in this project! But back to it at last, down to the last few cameras. This time I’m considering my Certo Super Sport Dolly, a folding camera for 120 film.

Certo Super Sport Dolly

I used this camera last not long after it was given to me. It needed some repair to work properly, including patching pinholes in the bellows and replacing a broken focus-stop ring. But once repaired, it worked well. Here, I shot some Kodak Ektar 100 in it.

Test

The Super Sport Dolly gave me great sharpness from corner to corner. The colors are a little strange, but that isn’t unexpected with an uncoated lens. This camera is from the late 1930s, before lens coating was a thing. This lens is the 75mm f/2.9 Meyer Görlitz Trioplan, a three element, three group design based on the Cooke triplet. It’s set in a Compur shutter that operates from 1 to 1/250 second.

For this outing I loaded some Ilford FP4 Plus, which I developed in Rodinal 1+50 and scanned on my Canon CanoScan 9000F Mark II. I got unexpected results.

Ampitheater

The light leak is back, but that’s not surprising as my bellows repair consisted of dabbing black fabric paint onto the pinholes. That lasts only so long. The leak shows up in only a couple frames because I closed the camera between many of these shots.

Silos

But check out that vignetting. I didn’t experience that at all with the other rolls of film I’ve put through the Super Sport Dolly. Who knows why it’s showing up now. (I cropped the vignetting out of some of the photos that follow.)

Ampitheater

I also didn’t get the same sharpness I enjoyed before. My scanning might be to blame; I’m still figuring out how to get the best results from my scanner.

Shadows

But man, did I have fun shooting the Super Sport Dolly. I can’t say the same with many other old folders that I’ve used. The Super Sport Dolly is small and light compared to many other old folders. Its f/2.9 lens and 1/250 shutter might not strike you as blazing fast, but I’ve encountered a lot of old folders have limited use except in blazing sunshine due to specs like f/6.3 and 1/100. The Super Sport Dolly’s pop-up “frame” viewfinder offers easy framing, where many old folders have small, hard-to-read brilliant viewfinders. Finally, the Super Sport Dolly takes 120 film, rather than a defunct format like 620 or 116.

Shadows

I normally keep cameras that work very well and, ideally, are in very good cosmetic condition. This Certo Super Sport Dolly doesn’t clear this bar. But I enjoy it enough that it doesn’t matter. I already want to shoot it again.

Verdict: Keep

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Preservation, Road Trips

Revisiting the bridge over Cagles Mill Lake

I climbed down the bank to see what kind of bridge this was. I was richly rewarded — it’s a true beauty.

Bridge over Cagle Mill Lake

That was in 2008 when I toured Indiana’s State Road 42, which stretches from near Indianapolis at Mooresville to Terre Haute. Along the way the road reaches Cagles Mill Lake, an Army Corps of Engineers flood-control project. This bridge was built in 1951 to span the lake, and SR 42 was realigned to cross the bridge. Upon my visit, it had been freshly renovated. It looked like new!

In the years since I stopped clambering down banks to see the undersides of bridges. Perhaps after seeing enough bridges I stopped being surprised and delighted by them. I’m sure that as I’ve gotten older I have become more risk averse — climbing down a steep bank can be hazardous! But after I visited the new SR 46 bridge near Bowling Green, I knew I wanted to see the Cagles Mill Lake bridge again, up close and personal. It wasn’t too far away.

It was like old times when I clambered down the bank to photograph this bridge. I had my Nikon F2AS along with a 35-105mm zoom lens attached. This unwieldy kit did not make it any easier to get into position.

Bridge over Cagles Mill Lake

I made one shot at 35mm and another at or near maximum zoom. Neither of these photos turned out as well as I hoped. When I visited last time, the bank was clear except for large rocks placed to retard erosion. This time, the rocks were still there, but so was a considerable amount of brush that made it hard to get a good angle on the bridge. A lot of brush can grow in 12 years! I’m also not pleased with the exposure in either of these photos. But at least I got them.

Bridge over Cagles Mill Lake

The best photo of the visit is this one of the deck. I love how the road disappears into the trees.

Bridge over Cagles Mill Lake

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Road Trips

Goodbye to the bridge that kindled my love of bridges

I fell in love with bridges because of this bridge.

Public domain image by Wikipedia user Nyttend

In 1987 I was a junior in college and I had a girlfriend at Indiana University. My buddy Doug also had a girlfriend at IU — and he had a car. He generously let me ride along every time he drove to Bloomington.

Terre Haute and Bloomington are connected by State Road 46. It rolls and winds gently through the countryside. It’s truly a lovely drive; make it if you’re ever out that way.

I never paid any attention to bridges until Doug and I started making this trip. Just west of tiny Bowling Green, State Road 46 crosses the Eel River. Starting in 1933, it did so over this two-span Parker through truss bridge.

Passing through this bridge became a quiet highlight of the trip. I probably never mentioned it to Doug. I came to enjoy the shadows the sun cast through the overhead trusses as we passed.

I came to enjoy other truss bridges in my travels. Soon I was curious about other kinds of bridges. My inner bridgefan had been awakened.

A regular inspection in 2011 found some failed gusset plates, critical to the bridge’s safety. They were repaired in a one-month closure. Then in 2012 more structural problems were found, leading to a three-month closure for repairs. But the Indiana Department of Transportation could see that this bridge would soon need either a thorough restoration — or replacement.

I’ll cut to the chase: INDOT chose replacement. People who lived near the bridge wanted it restored. They rightly pointed out that this bridge was on the National Register of Historic Places thanks to its association with settlement and economic development in the county. Their arguments only delayed the inevitable. In 2019, this old bridge was removed, and this bridge was built.

Replacement SR 46 bridge near Bowling Green

It’s been years since I had been out this way. Since moving to Indianapolis in the mid 1990s, I had little call to drive the road between Bloomington and Terre Haute! But in August I met one of my sons at a state park near his home for a long hike. Because of COVID-19, we hadn’t seen each other in at least six months. We were long overdue. That state park is on State Road 46.

After our hike, my son needed to be on his way. I had a couple hours to kill, so I plotted a long drive and went on my way. My first destination was this bridge. I knew not seeing the old truss bridge would be challenging. Fortunately, SR 46 is just as charming a drive today as ever. Enjoying the drive took some of the sting out when I came upon the new bridge.

I’ve lamented modern bridges before: they stir no hearts. Their utilitarian design probably makes them less expensive to build and maintain. As a taxpayer, I appreciate that. Also, when this one has outlived its useful life, nobody will protest its demolition and replacement.

I’ll say this much in praise of the new bridge: it’s plenty wide. The old bridge’s deck was just 23.6 feet wide. Encountering an oncoming semi in there always felt like an uncomfortably close encounter! Actually, those semis are a big part of what make old truss bridges like these obsolete. Trucks just weren’t as big and heavy when these bridges were built. Today’s semis simply wore these bridges out faster. The new bridge offers no eye candy, but it is stout enough to take on any vehicle the modern era can throw at it.

Because of the bridge’s historic status, all is not lost. It was dismantled and will be relocated to a park near Nashville, Indiana, where it will serve as 2 single-span pedestrian bridges. When I hear that this project is complete, I’ll make a trip to see — and experience this old bridge once again.

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Film Photography

The mysteries of exposure and film exposure latitude

I thought it was a shame I hadn’t shot my Nikon F2AS in a long time, so I put some film through it recently. The meter led me to shutter speeds that seemed slow for the full-sun conditions, out of line with Sunny 16.

I shot four subjects twice, once using the F2’s meter and once using the my phone’s light meter app. The app consistently had me expose two additional stops!

I shot Ilford FP4 Plus through my 35-105mm f/3.5-4.5 Zoom Nikkor lens (which I like less and less the more I use it). I developed the film in Rodinal 1+50 and scanned the negatives on my Canon CanoScan 9000F Mark II using VueScan. I brought the scans into Photoshop where I unsharp masked them all, corrected perspective if that was necessary, and on one shot toned down the highlights, but otherwise left them alone.

There are so many possibilities in any scene, from how you expose it to how you develop it to what you do with the negative in printing or scanning and post-processing. These pairs show it well. The F2 metered shot is first in each pair. In this first pair, I like the second shot more for its better definition in the houses, and the more silvery reflection in the pond.

Reflected houses, overexposed
Reflected houses, underexposed

In this pair, I prefer the second shot again for its rich, smooth tone in the tennis court surface and the better definition in the houses.

Tennis net, overexposed
Tennis net, underexposed

In this pair, I like the first shot better for its slightly better shadow detail. The first photo is the one where I toned the highlights down slightly in Photoshop. The path was a little washed out in the original scan.

Path, overexposed
Path, underexposed

In this pair, I like the first shot better for its slightly better shadow detail and its better definition in the sky.

Lowe's, overexposed
Lowe's, underexposed

What do you see in these photos? In each pair, which do you like better?

I think to some extent what we’re seeing here is the good exposure latitude of FP4 Plus — these are all technically decent photographs. Also, what we all like in a photograph is subjective.

After I finished this roll I checked my F2’s meter under a bunch of lighting conditions and couldn’t reproduce the odd meter readings I was getting. Soon I’ll mount a lens I know and like better, probably my 35mm f/2.8, and shoot this F2 again to validate the meter’s functioning.

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City County Building

City-County Building
Nikon N90s, 28-80mm f/3.3-5.6G AF Nikkor
Ilford FP4 Plus
2019

In 1970, Indianapolis merged with Marion County to create a combined city-county government. But the City-County building, which was built to house government offices, was completed in 1962. It’s as if they knew the merger was inevitable.

The City-County Building has that standard 1960s skyscraper look. It was the first building in Indianapolis to be taller than the Soldiers and Sailors Monument at the heart of Downtown. Now, any number of buildings are taller than the Monument.

The good people at Analogue Wonderland sent me this roll of Ilford FP4 Plus in exchange for this mention. Get your FP4 Plus from them here.

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Film Photography

single frame: City-County Building

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