F. S. Schardein & Sons Nikon F3, 35mm f/2.8 AI Nikkor Adox HR-50 Adox HR-DEV 1+49
Sometimes you just get the feeling that there’s an interesting photograph when you walk up on a scene. I got that feeling here.
I moved all about this little parking lot trying to find the right composition, my camera at my face. I’m sure someday I’m going to trip over something doing that. Finally I noticed the plane of the ghost-sign wall intersecting with the plane of the light streak in the pavement, and I knew I had my shot.
I mounted my 35-70mm f/3.3-4.5 Zoom Nikkor lens to the F3 for this outing. Despite its noticeable barrel distortion at the wide end, I really like this lens. It’s small and light, and its zoom range gives me good flexibility.
We met our granddaughter and her mom in downtown Zionsville, where there were gourds and pumpkins for sale. Here are three of Margaret’s kids, our “granddog” Obie, our granddaughter, and her mom.
We see our granddaughter most Sundays now, and it’s been lovely. When the weather’s nice enough we meet in town or in a park.
The used bookstore was open this day, running a clever promotion where they wrapped books in kraft paper, wrote what the book was about on the front, and sold them as book blind dates.
I finished the roll around the house. As the weather has grown chillier I’ve gone out less, but I’ve still wanted to make photographs. That means looking for new subjects, or new angles on old subjects, at home.
The 35-70 focuses from about 13 inches. I enjoy zooming this lens to 70mm and moving in close.
Our last gas grill gave up the ghost last season after just three years of service. That’s the way of $250 gas grills. I didn’t want to blow another $250 that way so I bought a little Weber charcoal grill instead. It’s more hassle to grill on charcoal but the flavor is better. Anyway, I’m pleased that I was able to capture this fire so well.
When I shot my Nikon F3 in January, I discovered that the light seals had failed. Actually, I discovered it when the scans came back from the processor and I saw the red streaks across my images. Isn’t that how it usually goes?
I immediately bought an F3 light-seal kit online, but it took me until August to get around to installing it. I put off things I don’t like to do. Fortunately, the kit I bought came with excellent instructions and everything I needed. It took me about a half hour to do the job, and then I had to wait a couple days for the adhesive to set.
Then I mounted my 35mm f/2.8 AI Nikkor lens and loaded my last roll of Adox HR-50 film. I took the F3 around with me on a couple walks and bike rides, and on our trip to Louisville. Here are the shots I like best.
I shot the F3 in aperture-priority mode. About a third of the photos were a half or a full stop overexposed. I was able to fix it well enough in Photoshop most of the time. I hope the meter in my F3 isn’t going wonky.
I whiffed focus on the photo above. When you look at it at full scan size it’s entirely out of focus. At blog size, it has a dreamy, tilt-shifty look that I like.
I got stronger contrast this time than I did the last time I shot this film. I was impressed with its good middle grays last time. Perhaps this film doesn’t like overexposure.
The HR-50 just doesn’t look as good this time as it did last time I shot it. While we were in Louisville, I had no choice a couple times but to leave the F3 and the HR-50 in the trunk of my hot car. That may have affected the film as well.
Downtown Louisville was still reeling from protests after the killing of Breonna Taylor when we visited. Between that and COVID-19, the streets were pretty empty.
I also took the F3 to New Augusta, which I hadn’t visited in a long time. Somewhere I have a photo of this house looking abandoned. Someone’s moved in and given it the attention it deserves.
I developed this film in Adox HR-DEV diluted to 1+49 and scanned it on my CanoScan 9000F Mark II. I’m growing more and more convinced that my scanner is the weak link in my 35mm workflow. These just need far too much unsharp masking.
It’s been fun to try Adox HR-50. I seldom reach for films this slow because they demand such good light. But under the right circumstaces, HR-50 looks very good. It’s worth finding the light that suits it.
It is such fun to make photographs well after nightfall, holding my film SLR in my hands, with only building and street lights shining on the scene. As I walked along the river in Chicago, Kodak T-Max P3200 let me make photographs as if it were 9 a.m., not 9 p.m.
It was cold that night, being the first weekend in January. My Nikon F3 can handle that kind of treatment, which is why I chose it. I mounted my 35mm f/2.8 AI Nikkor lens so I could fit more of the city in each frame.
My wife and I had just come from Navy Pier, where we photographed the Chicago skyline from the Ferris wheel. We had plenty of time for a leisurely walk along the Chicago River before our dinner reservations within the Loop. We walked on both sides of the river, crossing the bridges wherever we felt like it.
Chicago at night is a perfect subject for Kodak T-Max P3200. The built environment generates plenty of light to render subjects beautifully.
I forget exactly what apertures and shutter speeds I used to make these photos, but they let me shoot easily and comfortably. My lens wasn’t wide open, and I didn’t have to worry about camera shake.
As you can see, the P3200 does return noticeable grain. A couple of these photos do show slight underexposure. My F3’s meter did the best it could to read this light but didn’t always nail it. A few of these images looked a little foggy, but a little tweaking in Photoshop cleared that right up.
I remain amazed by how well this film works. I know some people push other films, such as Tri-X, to 3200 and get good results. But you have to push your processing accordingly. That’s not a huge deal when you process your own. But I send my 35mm black-and-white film to a pro lab. It’s nice not to have to pay extra for the push processing on P3200.
My wife and I had a lovely walk along the Chicago River as I shot this roll of Kodak T-Max P3200. I look forward to doing it again someday — and to finding other subjects that this film can make sing.
Chicago’s Wrigley Building was built from 1920 to 1924 as the first skyscraper north of the Chicago River. It’s a stunner at any time of the day, but I especially like it at night. Its white facade, beautifully lit, stands in contrast to the dark buildings all around it.
The building’s south tower is the taller of the two, 30 stories vs. 21.
The building is covered head to toe in terra cotta, providing no end of interesting detail to study.
I focused my lens on the south tower far more than the north, but here’s one good shot of the north tower, its entrance.
The north tower is 410 N. Michigan Ave., the south is 400.
The two towers are separated by a little alley, with a third-floor bridge connecting the two buildings and framing the scene.
There are no shortage of wonderful angles from which to compose interesting photographs.
Nikon F3, 35mm f/2.8 AI Nikkor, Kodak T-Max P3200.
“I want to get a good view of the Chicago skyline at dusk,” my wife said. “I’d like to photograph it.”
Instantly I thought of Navy Pier and its Ferris wheel. I’d ridden it before, years ago, and remembered its commanding view of the city. So we made our way over. The view was as commanding as I remembered.
It was only about 5:30 pm, but it was already dark on this early January day. Interestingly, the Kodak T-Max P3200 saw through the night right to the overcast sky, and that’s what it rendered.
The Ferris wheel cars are enclosed and heated, making it comfortable to make these photographs on a 25-degree evening. However, the glass is tinted, which robbed me of a stop or two of exposure. I shot these with my Nikon F3 and 35mm f/2.8 AI Nikkor lens wide open, which gave me shutter speeds of 1/15 and 1/30 sec. I’m glad I have a steady hand.
This is the same Nikon F3 that has developed a light leak thanks to a failed light seal. But at night, there’s too little light to sneak past that seal and leave streaks on the film. So this whole roll turned out fine.
The ride moved slowly and went around several times, giving us plenty of time to make these photographs. I arranged them here as if I made them in one pass, but in reality I shot one or two photos on each pass.
I forgot one key thing: my wife’s tendency to motion sickness. She found the gently swaying car to be a little challenging. But she got some fun shots with her DSLR, in color.
I bought this roll of P3200 that morning, at Chicago’s famous Central Camera. I stepped in the front door and there behind the counter was Johnny Sisson, of the Classic Lenses Podcast. He looks just like the photo he uses in social media, so he was easy to spot. I introduced myself and we chatted for a couple minutes. Affable fellow.