Reflecting in the retention pond Pentax H3 55mm f/1.8 SMC Takumar Agfa Vista 200 2018
My new book, Vinyl Village, shows the good, the bad, and the ugly about my neighborhood, which is typical of American suburbia. When I conceived it, I’m a little ashamed to admit that I had a hit piece in mind. But the more I walked this neighborhood looking deeply at it, the more I realized that the developers and builders merely designed to an aesthetic, with certain tradeoffs, while working within some heavy constraints (such a the high-voltage power lines that cut through).
Indeed, some aspects of this neighborhood are quite lovely. They made the most of the retention ponds. Here’s one.
If you’d like a copy of Vinyl Village, it’s just $9.99. Check it out here.
You might call the Pentax H3 a basic SLR, stripped of anything not strictly needed to make a photograph. But upon its 1960 introduction it was the state of the SLR art, about as good as you could get.
I bought mine for a song at a used camera shop. It’s nearly in mint condition. For its first outing I screwed on my 55mm f/2 Super Takumar lens, loaded some Kodak Gold 200, and took it on a road trip.
For this outing I mounted my 55mm f/1.8 SMC Takumar lens and shot Agfa Vista 200. I feel fortunate that this camera functions so well and looks so new even though it is nearly 60 years old. All of the controls operate smoothly and surely.
The only bummer was having to meter separately. This is a fully mechanical camera with no onboard light meter. The metering app on my iPhone works great. But using an SLR requires two hands, and so on every shot I had to haul the phone out, meter, put the phone away, and then set exposure on the camera. I could have made these photos with my match-needle-metered Spotmatic F in a fraction of the time.
I did shoot some of the roll in full sun at f/16 and 1/250 sec. — good old Sunny 16. But in other conditions I’m not confident enough of my ability to read light not to use a meter.
For years I’ve wanted to learn how to accurately guess exposure based on my reading of the light. But I’ve wanted to do it in the same way I’ve always wanted to learn to play piano — without all that boring practicing. As I walked about with the H3 I thought that maybe this is the right camera for learning that skill. But I can use any of my metered but otherwise mechanical SLR bodies, like my Spotmatic F or even my Nikon F2, for that. I just need to leave the battery out.
But this H3 is such a jewel. It and that SMC Takumar lent real dignity and grace to the mundane subjects I chose.
I’ve now come to the cameras where it’s harder to decide whether to keep them. This H3 is just wonderful to use, despite lacking a meter. It feels good in the hand, and all of its controls operate with smooth precision. But my Spotmatic F meets my screw-mount needs completely. When I want to use one of my Takumar lenses, I know I will reach for the SPF 99 times for every one time I would reach for this H3.
My favorite thing to do with a new-to-me old camera is take it on a road trip, but I can’t always get away. So I end up shooting an awful lot around my house and yard. I might well have the most-photographed residence in Indianapolis. (I’ve collected all of those photos into this Flickr album!) This is a typical around-the-house photo, as this flat scene lets me test sharpness and contrast. I shot this with my Pentax H3 and a 55mm f/2 Super Takumar lens on Kodak Gold 200. I wish I had exposed a half-stop less to blunt the slightly blown-out whites.
Longtime readers might remember that I’ve shown photos like this one before, and I always lamented the sorry state of my sills and shutters. They badly needed scraped and caulked and painted, but I just dreaded, and procrastinated, the job. I lamented it to my mother early last year — and she brightened. “I’ll do it!” she said. What? You’ve got to be kidding me. I’m 48, so you can make educated guesses at my mom’s general age. “Nope. I like doing work like this. You know I can’t stand not being busy!” So my mom came over every sunny day for weeks last spring and summer, climbing up and down a ladder to scrape and paint. And now my sills and shutters are gorgeous! Bless that woman.
Our trip along the Lafayette Road was spontaneous and brief. We started at about 3 in the afternoon and raced against the setting January sun. Normally, I would have started no later than 10 AM to give myself time to stop anywhere I wanted along the way. But I did manage to squeeze in some photographs of interesting vintage roadside attractions.
The first was this great sign. I drive by it all the time, actually. It’s on the road in southern Boone County, just south of the giant Traders Point Christian Church.
This junkyard has been closed for years. Which is a shame, really, because this sign was just wonderful when it used to light up at night.
Wrecked cars always used to be perched beneath this sign. While the junkyard was in operation, those cars changed from time to time. Afterward, the two cars pictured below lingered for years until finally being removed in 2015. I took this shot years ago with my old Palm Pre.
After the Lafayette Road leaves Indianapolis, Lebanon is the only town it goes through before it reaches Lafayette. (Though its original alignment probably went through Thorntown, as I explained in this post.) Lebanon is the seat of justice in Boone County; here’s the courthouse on the obligatory town square.
The Lebanon square is typical, with plenty of older buildings and a few new ones. Lebanon’s done a reasonable job of keeping its facades up.
Just after we entered Tippecanoe County, we came upon this beauty standing there doing nothing. The stainless steel front portion was manufactured by the Mountain View Diners Co. of Singac, NJ, in about 1952. I’m pretty sure these were shipped whole from the factory.
This one appears to have been closed for some time, which is a shame. But this location isn’t near enough to any town to get local business, and few travelers would stop in as the vast majority of traffic is over on nearby I-65. The Lafayette Road is US 52 here, a four-lane divided highway — and it’s almost always empty of cars. Apparently, the motel behind this diner still operates. I managed not to notice the motel while I was here, or I would have photographed it, too! I saw it on Google Maps while researching this post.
The Lafayette Road becomes Main Street when it enters Lafayette. Shortly we came upon this great frozen custard stand, which was closed for the season.
This is a fairly elaborate little building for a fairly elaborate frozen dairy product. Frozen custard must be at least 10 percent butterfat and contain egg yolk.
Some sources call this the oldest continuously operating frozen custard stand in the nation, having opened in 1932. Others say that this stand opened in 1949, but this company had operated at a different location from 1932-49. Whatever; this is a stunning little building. I would have loved to see the neon lit!
Remember when signs of this type were common as pennies?
Finally, we followed Main Street all the way into downtown Lafayette, which is where we presume the old Lafayette Road ends. This building with its great sign aren’t right on Main Street, but you can see it from there, as it’s just two blocks north on Ninth Street.
By this time, we were starting to run out of light. Perhaps we’ll make this trip again another day and photograph more things: the very old homes we saw along the rural portions of the route, more of Lebanon, and shots of Lafayette’s charming Main Street.
A few years ago, my brother bought me a book published in the early 1960s about photography with Pentax SLRs. Ever since, I’ve wanted a Pentax from the same era to display with it. It took me a while, but I finally found one: this Pentax H3.
Known as the S3 everywhere but the United States upon its 1960 introduction, it was the fifth iteration of the original 1957 Asahi Pentax. It’s all metal, all mechanical, and offers no focusing or exposure help to you. This is 35mm SLR photography at its most elemental.
That 1957 Pentax is historically significant. 35mm SLRs have existed since the 1930s, but you’d hardly recognize the early ones. They usually had waist-level viewfinders that you peered down into. The pentaprism viewfinder wasn’t introduced on a production camera until 1949. The Asahi Optical Co. waded into the SLR waters in 1952 with the Asahiflex, which had a waist-level finder. But when they fitted a pentaprism viewfinder and a right-hand single-stroke film advance lever to it and called it the Pentax, they pretty much defined the 35mm SLR idiom.
The original Asahi Pentax still had a couple quirks, such as a front-mounted dial for slower shutter speeds. Asahi kept refining its Pentax cameras over the next few years to work out these quirks, issuing the Pentax S, Pentax K, and finally the Pentax S2 (H2 in the United States).
The S3/H3 differs from the S2/H2 primarily in its 1/1000 sec. top shutter speed; the S2/H2 went only to 1/500 sec. The S3/H3 offers a Fresnel focusing screen with a microprism spot in the center. Anything out of focus in the microprism shimmers; you twist the focusing ring until the shimmering stops, and then you’ve got good focus. The S3/H3 has a couple minor usage quirks: to open the camera back, don’t pull up on the rewind knob; instead, pull down the tab on the unhinged side. And turn the film counter dial clockwise to zero after loading the film — the S3/H3 counts up from there.
If you like Pentax SLRs, I’ve reviewed a bunch of ’em: the Spotmatic SP (here), the Spotmatic F (here), the ES II (here), the K1000 (here), the KM (here), and the ME (here). Or just check out all of my camera reviews here.
While I’m an enormous fan of onboard metering, shooting my bare-bones H3 was refreshing. My H3 came with no lens, so I screwed on a 55mm f/2 Super-Takumar lens I already owned. Pretty much any M42 screw-mount lens would do, actually. I loaded some Kodak Gold 200 and got to shooting. Typically, my first shots were around the house, just to get a basic feel for the camera. We’d gotten a little snow.
I took the H3 along when I took my son back to Purdue after Christmas break. I really wasn’t thinking: it was a few degrees below freezing, and old cameras usually don’t like the cold. The mirror stuck up after this shot. I got one more quick shot hoping the mirror would come down, and then it dawned on me I probably ought to put the H3 back into my warm car and then wait for more favorable temperatures before continuing.
We got those favorable temperatures in late January, to my surprise. Margaret and I took advantage of them to drive along the old Lafayette Road. Here’s Margaret looking lovely on the square in Lebanon.
Well north on the Lafayette Road we came upon this old diner, a 1950s Mountainview. It looks like it hasn’t served a customer in a while.
I put another roll through the Pentax H3, this time Agfa Vista 200, a couple years later in the autumn. This time I screwed on my 55mm f/1.8 SMC Takumar lens.
I tried a little up-close photography; this little ceramic owl sits on a table on my mom’s patio.
Except for stopping to meter, the H3 is lovely to use. The controls all feel good under use, but not quite to luxury levels. Even after nearly 60 years, mine still works like a jewel. And that SMC Takumar is a peach.
I stepped right out my back door to capture this beautiful sunset.
The H3 felt right in my hands. I’m sure it’s because I have experience with this basic body, which my Spotmatic SP and my ES II share. And I didn’t even mind too much having to use an external light meter or guess exposure. I was sure, actually, that I’d bollixed the exposure on a handful of shots where I absentmindedly metered at ISO 400, but the consumer-grade films I used accommodated my mistakes just fine.
I bought this camera because I wanted to display it, but it turns out to be a great user. Win!
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.
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