Some subjects draw me in every time I pass by with a camera. This scene on Main Street in Zionsville has become one of those subjects. I am sure I have at least one more photo from here, but I can’t find it now. Enjoy these five.
How fortunate I’ve been these last couple years to live so close to Zionsville’s charming downtown. It’s just a short drive to enjoy the boutiques and galleries and restaurants.
We make good use of Zionsville’s Main Street. On the morning I’m writing this my wife and I are waking up after an impromptu and deeply enjoyed night on the little town. Often when family comes to visit we stroll this brick street and pop into whatever shops are open. It’s always a lovely time. I bring a camera, naturally. That’s how I made this photograph. This potter’s work is always for sale in this particular gallery.
How improbable Zionsville’s Main Street is to me, lined with these perfect little shops that are seldom busy. At any random time I’m in town, several of them aren’t even open. I wonder how any of them turn a profit.
Together, my wife and I are in the top five percent of earners nationwide. (It takes surprisingly little to join that club.) Yet I am sure we are in the bottom quarter of earners in Zionsville. There’s serious money here.
I assume these shops are run by people whose families have plenty of money. Nobody’s counting on these boutiques to pay the mortgage and feed the children. As long as their shops break even, they’re fine.
How is it that I’ve been back into film photography for 13 years but have never shot Kodak’s Portra 400? My 2018 EMULSIVE Secret Santa gave me the nudge I needed by dropping two rolls into the gift box she sent.
As I’ve seen others shoot Portra 400, some use it as a general-purpose color film and others find it most useful for photos that involve people. I don’t often shoot people. I tend to shoot things that don’t move. Like cemeteries. And flowers. In cemeteries.
I had been shooting my Nikomat FTn and decided to keep at it for this roll. I had my 50mm f/2 Nikkor H-C lens mounted. Portra gave me just enough exposure room to shoot inside, albeit with shallow depth of field.
I can’t decide whether I think the colors are muted or not. So many people have said Portra’s colors are muted that I don’t trust my judgment. I see muted colors in these books, but that might be because the books’ colors are genuinely muted. The magnolia flowers and the American flag above don’t look muted to me. Are the greens below muted? I want to say no, but I also can’t recall how vivid the scene was in real life.
I don’t notice grain in these photos at this size, but I do when I look at them at full scan size. It’s neither pleasing nor disruptive. It’s workmanlike grain, faint and unobtrusive. However, I scanned these on my flatbed scanner. Lab scans might have made the grain even harder to detect.
The Portra was at its best at early evening, the sun in that golden-hour sweet spot.
Portra 400 is a very good film. I haven’t pixel-peeped to be sure, but it might have the least obtrusive grain of all the fast color films I’ve shot.
But the film I use most, Fujicolor 200, suits me fine and costs a lot less.
My EMULSIVE Secret Santa sent me two rolls of Portra 400, so sooner or later I’ll put the other one through a camera. I shot it at box speed this time, so next time perhaps I’ll shoot it at EI 200. Several photo bloggers I follow get really nice results when they do that.
Single tree flower Nikon Nikomat FTn, 50mm f/2 Nikkor H-C Fujifilm Fujicolor 200 2019
I had high hopes when I shot my Nikon Nikomat FTn again. I’ve learned so much about photography and using vintage gear in the last few years, and I expected all of that knowledge would come to bear in the images. Yet I felt disappointment as I looked at the scans. I didn’t like the colors the Nikkor H-C lens rendered on Fujicolor 200.
Maybe it wasn’t the lens, but the processing. Or maybe the film was funky. I don’t know. But I had to do a lot of work in Photoshop to remove a brown caste from nearly every image. I’ve seen green and blue castes before, but never brown. It was weird.
Because of a scanner snafu some of the images weren’t usable at all. The lab agreed to rescan the negatives for me, and I’ve sent them back, but not before I scanned them myself. This is one of my scans. It isn’t bad but it’s mighty noisy. It’s not a bad look but it wasn’t the smooth, crisp look I was going for.
Metal, mechanical 35mm SLRs with coupled light meters are my favorite way to shoot. I like how substantial they feel. The best of them, like my 1967-75 Nikon Nikomat FTn, feel like they’ll outlast me.
On my first outing with this camera I loaded some since-discontinued Arista Premium 400 (which was allegedly rebranded Kodak Tri-X 400) and went to the State Fair. The camera felt a little clumsy in my hands at first, but I soon adapted to its ways and enjoyed the experience.
And then this camera went onto the shelf and stayed there. I simply have too many lovely metal, mechanical SLRs to choose from, and I kept reaching for my Nikon F2 and my various Pentax bodies first. This is one of the reasons for Operation Thin the Herd: to pass on gear I’m just not going to use enough. Let this good gear go to its next owner.
But I don’t want to be too hasty. This is really a lovely camera. Through the 1970s Nikon put its name only on its professional cameras. Starting in 1965, its not-quite-pro cameras got the Nikomat name in Japan and the Nikkormat name in the rest of the world. I see no evidence that they were not as solidly built as the pro cameras. They just lacked some of the pro features of the F-series cameras like interchangeable viewfinder-meter heads and focusing screens. When reasonably cared for, a Nikomat/Nikkormat is a lifetime camera.
This camera is from before Nikon had devised a way for a body to automatically find the mounted lens’s aperture range. Such cameras and lenses are called “pre-AI,” where AI means “automatic indexing.” This is the only pre-AI body I own, and I keep my only pre-AI lens on it all the time, a 50mm f/2 Nikkor H-C. The H means Hex, for the lens’s six elements. The C stands for multi-Coated, an improvement over earlier H lenses, which were single-coated.
I loaded some Fujicolor 200 into the FTn and shot the roll. It wasn’t until I shot the fourth image past 36 on the frame counter that I realized something was wrong. I opened the camera to find the film leader sitting next to the spool. I had struggled to get the film to wind around the spool and sure enough I’d utterly failed. But this time when I stuck the leader into the spool it grabbed immediately and wound strongly. I got on with shooting the roll again. We were in Eagle Creek Park in Indianapolis.
There’s nothing light about the FTn in use. The winder feels substantial. The shutter button requires a solid push. The lever on the lens mount that adjusts shutter speed feels hefty and clicks surely through its stops. This, friends, is what I like about metal, mechanical cameras.
The meter is classic Nikon 60/40 center-weighted. You adjust aperture and shutter speed and the viewfinder needle moves along a scale. When it’s horizontal between + and -, you have a good exposure. + is one stop of overexposure and – is one stop of underexposure. I like how Fujicolor 200 looks when overexposed by up to a stop, so I tended to meter so the needle pointed more towards the +. It didn’t work out for me on this roll; I had to adjust exposure in Photoshop on nearly every frame. I did scan the negatives on my flatbed scanner, however, and I haven’t perfected my techniques yet.
By the late 1970s, SLRs from all makers had largely standardized their controls, placing the shutter-speed selector on the body’s top near the shutter button. That’s what I prefer. I know of two SLRs that place the shutter-speed selector on the lens mount: this one and the Olympus OM-1. The FTn does the OM-1 better in two ways: its selector ring features a tab that makes moving the ring easier when the camera is at your eye, and you can see the selected shutter speed through the viewfinder.
While doing some light shopping on Zionsville’s charming main street, I tried making some photos inside the shops. My shutter speeds were low, like 1/15 sec. But the camera operates smoothly and I have a steady hand.
I shoot Fujicolor all the time and know it better than any other film. The lab’s scans didn’t look great; everything was very brown, and large areas were blotchy. I thought maybe the lab had a bad day with its scanner, so I scanned them myself. They, too, were very brown, but at least they weren’t blotchy. You’re looking at my scans in this post. I had to do a lot of Photoshop work to try to correct the colors.
I also shot a roll of Kodak Portra 400 in the FTn — my first ever, so it’s a film I know not at all. Those images were blotchy too but the colors were good. The lab agreed to take the negatives back and re-scan them. If that makes any difference I’ll let you know. Meanwhile I’ll share scans I made from that roll in an upcoming post.
I like this camera fine. I like my Pentax KM and my Nikon F2 more, and so I reach for them all the time and this Nikomat FTn almost never. This is only the second time I’ve used it. Sadly, that sounds the death knell for the Nikomat FTn in my collection.
This camera has film in it right this minute, as it has its turn in Operation Thin the Herd. My, but do I like this camera. My, but do I not need this camera. Anyway, I’ve refreshed its review, and you can read it here.