I wonder if I’ve been wrong about L110, which is a Kodak HC-110 developer clone — at least as pertains to Kodak T-Max 400.
I’ve panned L110 for delivering soft results that sometimes defy sharpening via Photoshop’s unsharp mask command. But this image looks plenty sharp. And for having been scanned on my flatbed scanner, it’s pretty smooth.
I think my scanner is the weak link in my process for sharing images with you. It’s probably as good as a flatbed scanner can be.
At any rate, T-Max 400 in L110 1+63 appears to be a winning combination.
I still have a lot of Adox HR-DEV to use up after buying a small bottle to develop a roll of its companion film, Adox HR-50. I’m developing other films in it to see how it performs. I liked Arista EDU 200 (aka Fomapan 200) in it not long ago, so this time I tried Kodak T-Max 400.
I also took this opportunity to test a second Olympus OM-2n body given to me by the same benefactor who gave me the first one, as well as the Olympus OM-4T I recently shot. This very generous fellow also gave me a whole bunch of lenses and other OM gear. He hadn’t shot his OMs in a long time and he was ready for them not to take up space in his home anymore.
I mounted a large, heavy 35-70mm f/4 S Zuiko Auto-Zoom lens. It’s probably this hefty because of its fixed f/4 aperture — if I recall correctly, variable-aperture zooms can be made much smaller and lighter. Despite the weight, I slung the OM-2n over my shoulder and took it on a long bike ride.
HR-DEV is supposed to enhance sensitivity, better differentiating light from shadow. I don’t know if I see that; this looks like normal T-Max 400 to me.
But I very much appreciated how sharp these scans were off my flatbed. They still needed a little unsharp masking in Photoshop, but far less aggressively than normal after developing this film in any of my usual developers.
I finished the roll on a few walks through the neighborhood. What I especially appreciated about these negatives was how little Photoshopping they required to look good. About half of them needed only that touch of unsharp masking.
I made these neighborhood shots on full-sun days, and I think I detect the light areas being lighter than I’m used to with this film under these conditions. Or I could be seeing things.
Just a side note: it’s crazy to me how much of the sides and backs of houses you can see on any walk through this neighborhood, and how often windows are placed haphazardly on them.
If you look at these images at full scan size, which you can do by clicking any of them to see them on Flickr, there’s detectable grain here. But at blog sizes they look smooth enough.
Bottom line, this combination works. Don’t be afraid to try it if you, like me, have some HR-DEV to use up.
When I heard that the Pentax IQZoom 60 has both a macro mode and an LED display that shows the exact focal length to which you are zoomed, I bought one as soon as I could find one. Those features would be so useful on a point-and-shoot 35mm camera! But they turned out not to be on this camera, not really. Worse, this camera was no fun to use.
The IQZoom 60 has middling specs, starting with a 38-60mm f/4.5-6.7 zoom lens of six elements in five groups. It uses an active infrared autofocus system; its autoexposure system offers no manual override. Its electromagnetic shutter operates from 1/30 to 1/250 second. A zoom range that narrow and a shutter that slow are probably fine for family snapshots and vacation photos.
To load the camera, open the door by pulling down on the lever at left, and then insert the film cartridge on the right, upside down. Pull the film across the takeup spool to the red line and close the door. Turn on the camera by sliding the slider next to the LCD to the middle position. The film winds to the first frame. The IQZoom 60 reads the film canister’s DX code to set ISO from 50 to 1600. If the film has a DX code outside that range, or has no DX code, the camera operates at ISO 100.
The IQZoom 60 focuses from 3.3 feet to infinity. In macro mode, the camera focuses only from a not-that-macro 1.8 feet. To put the camera in macro mode, move the on-off slider to the green flower. The camera zooms to 60mm and a magnifier with a green border pops into the viewfinder. If you compose a subject where nothing is in the macro range, the camera pulls the magnifier out of the viewfinder and focuses from 3.3 feet as normal. That’s a nice touch.
I don’t like the viewfinder. It’s small, and peering into it feels like looking through a toilet-paper tube with a thick piece of glass taped to its end. Inside you’ll find frame lines for normal and parallax-corrected close focusing, but they were hard to see except in blazing, direct sunlight.
To focus, put the thing you want in focus in the center of the viewfinder and press the shutter button halfway. The green light next to the viewfinder glows steady when the camera locks focus; it blinks when the camera can’t lock focus. Once you’ve focused, you can recompose if you want (but keep holding the button halfway down) and then shoot.
As usual with point-and-shoot cameras, the flash is always on and the camera uses it whenever it thinks there’s not enough light. The red lamp next to the viewfinder glows when the flash is ready to fire. You can also press the button under the on/off/macro switch to activate fill flash.
A surprisingly expensive CR-P2 battery powers the IQZoom 60.
I find it exciting that the IQZoom 60 shows you the lens’s focal length as you zoom. I like to use typical prime focal lengths, like 35mm, 50mm, and 85mm, as much as I can. But given the camera’s short zoom range, the only typical prime focal length here is 50mm. I’ll throw in 38mm to be charitable as it’s close enough to 35mm. That’s it. But I’ll bet people in this camera’s target market used the zoom to replace moving closer to or farther away from the subject and didn’t care what the lens’s focal length was.
When Pentax released the IQZoom 60 in 1987, it sold for $324. That’s equivalent to north of $750 today, a lot of money for a middling point and shoot! Pentax stopped production in 1991. In some markets, the camera was called simply the Zoom 60.
If you like 35mm point-and-shoot cameras, check out my review of another in the IQZoom series, the 170SL here. It’s everything this IQZoom 60 wishes it were. Also see my reviews of the Pentax IQZoom EZY (here), the Nikon Zoom Touch 400 (here), the Yashica T2 (here), the Olympus Stylus (here), the Olympus mju Zoom 140 (here), and the Kodak VR35 K40 (here). Or check out all of my camera reviews here.
Even though cameras like this were meant for color film, I loaded black-and-white T-Max 400 into it and took it on a walk around the Broad Ripple neighborhood in Indianapolis. I developed in LegacyPro L110 H (1+63) and scanned on my CanoScan 9000F Mark II with VueScan.
As you can see, the IQZoom 60 does good work. The lens is sharp and has no obvious distortion. But that doesn’t mean I liked using this camera.
I have four complaints about the IQZoom 60. First, that viewfinder, as I described earlier. Second, it’s large for a point and shoot, about the same size as a typical 35mm SLR! Third, it felt clumsy and plasticky in my hand.
Fourth, the combination shutter-zoom button was rubbery and blubbery. Sometimes I had to press the shutter button twice to get it to fire. That’s a real pet peeve with me — give me buttons that feel solid and sure under my finger.
Unfortunately, the button to zoom in was dead on this camera. I worked around it by putting the camera in macro mode, which zoomed the lens to the max, and then zooming out from there.
The camera’s so-called macro mode works well enough, though 1.8 feet is hardly macro. I used it in the photos above and below.
At least the viewfinder is accurate. It’s not on so many 35mm point-and-shoots. That’s another pet peeve of mine. But on the IQZoom 60, if you can manage to see the framing lines, whatever is inside them is actually in the frame, and nothing more.
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.
My subdivision used to be farmland. When I moved to central Indiana a quarter century ago, I occasionally drove out this way and it was as rural as rural can be. Now it’s all vinyl villages and shopping centers.
An old farmhouse lies around the corner from my house. It’s on a parcel that I’d guess covers just a few acres. A family still lives there — is it the original family that sold the rest of the land for this subdivision?
These steps lead to the farmhouse’s front door, but it’s clear that nobody’s used that door in a long time.
The road I stood on to make this photograph used to be a state highway, but not since the 1960s when it was moved to intersect with the nearby Interstate highway. Now this old road is just the back way into my section of the neighborhood, and it dead ends when it reaches it.
I was deeply impressed with the Pentax IQZoom 170SL when I shot some test rolls in it recently. I got excellent color on consumer-grade Fuji films, and its lens was plenty sharp. If it worked the same magic on black-and-white film, I would keep it in my collection. I bought a fresh CR2 battery, loaded some Kodak T-Max 400, and took it on lunchtime walks around my neighborhood.
I shot a lot of film in the spring! It gave me so much to share here that I’m clearing away a big backlog of photos. I made these about four weeks ago. We had an unusually gray and chilly spring. ISO 400 film is just right for days like that, especially in a point-and-shoot camera.
I developed this roll in Rodinal 1+50 and scanned the negatives with VueScan on my Canon CanoScan 9000F Mk II. The VueScan produces smoother tones than the software I was using before. These aren’t quite as good as the scans I get from my favorite lab, but they’re plenty good for every purpose I have for them.
Our subdivision offers the most affordable homes in what is otherwise a wealthy and expensive suburb of Indianapolis. It’s the only way we can afford to live here. We got excellent schools in the bargain. This year’s high-school seniors will have a very different graduation experience from any class before. These signs are for all of the seniors in our subdivision. It’s one of many visible ways the community is celebrating them.
But back to the IQZoom 170SL. It handled well. Even though it’s a little chunky, it slid right into my jeans back pocket. And it delivered the goods yet again. I can’t believe you can buy one on eBay for under $50, and often under $20. Other equally capable point-and-shoots go for five or ten times that much. Get one now before everybody else gloms onto them and the prices soar.
Signs proclaim NO all over our subdivision. No soliciting. No fishing, swimming, ice skating, or boating. No digging, because natural gas and petroleum pipelines flow below our ground. We’re the Village of No.
I have but two criticisms of the 170SL. First, images go soft at maximum zoom (as above). But that’s typical of long-zoom point-and-shoots.
Second, the camera flashes automatically when it thinks the light calls for it. You can override it, but I found myself caught by surprise every time it happened. Fortunately, in this photo of little aluminum ladder on our deck in mid-renovation, the image retained detail in the aluminum highlights.
I meant to use the flash in this shot, from the day my wife and I turned our living room into our home office. It lit the scene evenly, which is not always true of the little flashes on point-and-shoot cameras.
This little camera is a winner. If you like point-and-shoots, get one.