Drive thru open Olympus OM-2n 40mm f/2 Zuiko Auto-S Ilford HP5 Plus LegacyPro L110, Dilution E (1+47) 2021
South Street is the south border of Indianapolis’s historic Mile Square. You can probably guess the names of the north, east, and west border streets.
You’ll find this Subway and (behind it in the background) an Arby’s on South Street, as if they were out in the suburbs someplace. This land is becoming valuable, and I wonder how long it is before both restaurants are razed in favor of apartments or condos.
Downtown Indianapolis is again becoming a hip and happening place to be, which has led to lots of new construction. There are tons of apartments Downtown now, all in the four-over-one style with a concrete main floor and wood frame upper floors. This growth kicked into gear well before the pandemic; it’ll be interesting to see whether it resumes or not. But the buildings are here regardless. The growth was so strong for a while that it expanded into the previously unfashionable south end of Downtown.
I benefit from this, as I work nearby now. Some of the amenities, such as a CVS pharmacy, are useful to me. I popped in not long ago to buy a box of tissues for my desk.
Area sidewalks are brick, in this interesting multi-color pattern.
The Aleander is a four-star hotel. Or so I hear, since I don’t stay in hotels so close to home. I did attend an event here once, and found the space to be very nice.
One old building remains in this area: this onetime livery stable, now home to the Indianapolis branch of Taxman Brewing. The first time I visited here, most of this construction hadn’t been started yet. Taxman was far enough away from the heart of Downtown that I wondered why they located here. They clearly knew what was to come.
My new job is located Downtown in Indianapolis, but a couple blocks south of what’s considered to be Downtown’s heart. My last job was about two blocks east of Monument Circle, amid Indy’s tallest buildings. My new job is seven blocks south of Monument Circle, amid some very old houses, brand new expensive apartments, and decayed light industrial buildings.
I am in the office every Tuesday now, and sometimes on Friday as well, as I ease back into working in the office. On my first day back, I loaded some Ilford HP5 Plus into my delightful Olympus OM-2n. I hadn’t used my compact 40mm f/2. Zuiko Auto-S lens in a good long time, so I mounted it. I developed the film in LegacyPro L110, Dilution E (1+47) and scanned the negatives on my Minolta ScanDual II. I made these photos over about a three week span, on lunch hours and afternoon breaks.
In this part of Downtown, there are no parking garages. We all park on large surface lots. Fortunately, my employer picks up the tab. My previous employer did not, and it cost me $1,700 a year to park. These stairs lead to the popular LaRosa lot.
I don’t know what this lot is called but it’s immediately north of LaRosa. That this lot is empty says a lot about the state of returning to work in Downtown Indianapolis. In the background at left is the complex of buildings in which I work.
A lot of railroads used to converge in Downtown Indianapolis. The tracks were all elevated about 100 years ago; the infrastructure remains even though the railroads do not.
A large building, which I would guess was once a factory, is within line of sight of the building in which I work. Part of it is a brewery today.
Other businesses take up other parts of this building, while other parts appear to be vacant.
This is the entrance to the main building in the office complex where I work. I’m told this used to be a high school — it looks the part. The specific building in which I work is brand new and stands next door.
Our building is on Meridian Street, which is Indianapolis’s main north-south street. But because of the campuses of a couple of large employers and the location of a couple Interstate highways, this section of Meridian Street is cut off from the rest of it to the north and to the south. The buildings in the background are hotels and are brand new.
The Indianapolis Colts play at Lucas Oil Stadium, which is just a couple blocks away. It provides an interesting backdrop to these old houses.
These houses are a block to the west. These houses all seem so very old, from the late 1800s I’d guess. I wonder what kind of neighborhood this was in its time.
This grand dame is around the corner from my office. It houses some sort of business today. I’m very curious about what it looks like inside.
That’s a quick look at most of the area around my new office. I haven’t shown you the new construction yet; that’ll be in a post to come.
Curious lizard Olympus OM-2n 50mm f/3.5 Zuiko Auto Macro Ilford Delta 400 LegacyPro L110, Dilution B 2021
Here’s another photo from the Ruins at Holliday Park in Indianapolis. They renovated it a few years ago — it had been in serious disrepair — and in so doing added a water feature with a bunch of little amphibious statuettes. Like this one.
I like this little guy. He looks so curious. At the right angle he almost looks like he’s smiling.
I don’t have too much trouble with dust and debris settling on my film while it dries after development. I’m fortunate. But Ilford Delta 400 attracts more dust and debris than most other films I use. I don’t know why! It took me a while to remove all the spots from the images on this roll. But this combo of film, developer, and scanner is a winner in my book, so the spotting is worth it.
Show me some leg Olympus OM-2n 50mm f/3.5 Zuiko Auto Macro Ilford Delta 400 LegacyPro L110 B 2021
Before the Marion County Courthouse was torn down in downtown Indianapolis, statues of six Greek goddesses stood in that building’s tower. Someone decided the statues were worth saving. I know where three of them ended up: one in Crown Hill Cemetery and two in Holliday Park, flanking The Ruins. This is a detail of one of the statues at The Ruins.
This statue lost its head at some point; see the whole thing here.
I’ve been unhappy with the 35mm scans my Canon CanoScan 9000F Mark II produces. They lack sharpness and shadow detail. I’ve done everything I can figure out in VueScan to make them better.
I’ve complained about this before, and reader P paid sharp attention. He contacted me recently to recommend a dedicated 35mm scanner he found used for a good price, refurbished, at KEH. I bought it straightaway.
It’s the Minolta DiMAGE Scan Dual II, which was manufactured in about 2003. This scanner’s maximum output is 2,820 DPI, yielding images of roughly 3680×2580 pixels. That’s nearly 10 megapixels, which is enough for anything I do with my images.
When it arrived, I quickly scanned a negative strip from a roll of Ilford Delta 400 I shot in my Olympus XA in December to make sure the scanner functioned. It did, but my scans weren’t sharp. So I tried again later with the same strip, digging into the manual and into VueScan’s settings to get focus right. I got very good sharpness that time.
I’m going to show you all four frames from both scanners. In each pair, the Scan Dual II scans are first and the CanoScan 9000F scans are second. I’ve tweaked both in Photoshop to my liking, within the limits of the scan — but the ScanDual scans didn’t need very much help. They are far better than the CanoScan scans, especially in contrast and sharpness. The contrast is apparent right off, but you need to see these scans at full size to appreciate the sharpness difference. To do that, click to see them on Flickr and then click them there to see them larger.
Even though the Minolta is 17 years old and relies on a USB 1.0 interface, I got scans faster than I ever do from the Canon. This is in part because VueScan was able to accurately detect frames in the Minolta, and it can’t in the Canon for some reason. I have to painstakingly select each frame before scanning.
The Minolta scans are far sharper than the Canon scans straight off the scanner. No amount of Photoshopping can make the Canon scans look sharp, while a tiny bit of unsharp masking makes the Minolta scans look great.
This scanner’s native software doesn’t work with Windows 10. Fortunately, VueScan recognized this scanner instantly and was ready in seconds to make scans from it.
I kept going, this time with a strip of color film. This is Fujifilm Superia X-tra 400, shot in my Olympus OM-2n using the 50mm f/3.5 Olympus Zuiko MC Auto-Macro lens. I sent this film to Fulltone Photo for developing and scanning. My scans from the Scan Dual II are first, and Fulltone’s scans are second. I adjusted VueScan’s settings as best I could but still got rather cool scans. So I adjusted white balance and a few other settings on them in Photoshop.
The Scan Dual II scans are not far better than the Fulltone scans. I rather prefer the color Fulltone delivered — but it could be that after all these years I’m just used to the color a lab’s Noritsu scanner delivers. Now that I’m looking at these again, the ScanDual scans might have a slight magenta cast, and removing it might help. Yet these scans are acceptable for the day I might choose to develop color film at home, or wish to rescan an old color negative.