Fortunately, my Pentax Spotmatic F is still going stong. So I used that. I also got out my Nikon N90s and, just today, my Nikon N2000 for some work. I really like all of those cameras. The N2000 continues to surprise me by how pleasant it is.
Still, it feels very weird not to have a functioning K-mount body. Both my ME and KM need to go to Eric Hendrickson stat.
Fujifilm discontinued its Superia X-tra 800 film in 2016, so I’m four years late with this Goodbye post. I’m not sure what took me so long.
I’ve made a few truly lovely images with this film. But for the most part, its pronounced grain disappoints me. I kept shooting it because it was the least expensive ISO 800 color option while I lived on a tight budget.
I bought it primarily to make portraits of members of my church. We have occasional pitch-in lunches in our dim basement. I’ve tried ISO 400 films and an f/2 lens, but ISO 800 and an f/1.4 give me more margin for focusing error. My kit was always my Pentax ME with my 50mm f/1.4 SMC Pentax-M lens.
I also made candids at these lunches, trying to build my skill at capturing an interesting moment.
This may be the film I’ve had printed most often, as I like to give prints to my portrait subjects. I am always surprised by how much better the prints look than the scans from which they’re made. It’s true when I have my usual pro lab make prints and it’s true when I upload jpegs to Walgreens for quick turnaround. The colors are richer, and the grain largely disappears. I would love to understand why.
I’ve also used Superia X-tra 800 whenever I knew the light would be challenging. I rather prefer it for that application. Here’s my all-time favorite photo I made on this film, from my Olympus XA. The grain is still omnipresent, especially at the bottom, but the film’s muted palette worked very well with the setting sun.
Here’s another good State Fair shot on this film, from the Pentax ME and that 50/1.4. I featured it in my book of photos from the Pentax ME — you can still buy a copy here.
Sometimes I pushed this film too far. I know many people like a look like this, but it’s never what I envision when I compose and shoot. Pentax ME and 50/1.4 again.
Superia X-tra 800 was at its best in diffuse, even light, as here. This is where the film delivers its best color. Nikon F2AS and 50/2 AI Nikkor.
It even works fine in full sunlight, as here. You just get tiny apertures and gobs of depth of field. Still Nikon F2AS and 50/2 AI Nikkor.
Looking back, I’m not sure now what made me choose this fast film on such sunny days! Olympus XA.
I did some nice close work with this Superia X-tra 800. I shot these flowers in a hothouse on a gloomy day. Pentax ME and 50/1.4.
This film looks especially good in this photo of some phlox on the grounds of Newfields. It was known as the Indianapolis Museum of Art then. Pentax ME and 50/1.4.
I think I expected this stuff to look just like Fujicolor 200, the color film I shoot most. That’s not a great way to approach any film. If I had it to do over again, I would have spent more time figuring out what situations this film excelled in, and I would have found a film that came closer to delivering the look I wanted in my church’s basement.
We’re not at a loss for ISO 800 color films despite Fujifilm Superia X-tra 800’s exit. Kodak Portra 800 is the obvious film to try next at a pitch-in. It is famous for its fine grain, and I can afford it now. I know CineStill and Lomography offer ISO 800 color films and it would be fun to try them someday. Also, I’ve heard of people having good luck shooting Fujifilm Superia X-tra 400 at EI 800 and then push-processing it by one stop.
The last one-lane bridge on an Indiana highway Pentax ME, 35mm f/2.8 SMC Pentax-A Fujifilm Superia X-tra 400 (shot at 200) 2018
Indiana State Road 225 runs just four miles, from State Road 43 a few miles north of Lafayette, through the small town of Battle Ground, through Prophetstown State Park, to a road that used to be State Road 25.
This four-span Pratt through truss bridge was built in 1912, before there was any sort of state highway system here. A stoplight at either end controls traffic so nobody has to play chicken on the bridge. Given that only about 950 cars cross it every day, I’m sure the state has never been terribly motivated to build a two-lane bridge here.
But that day might need to come soon. At its last inspection, this bridge was judged to be in poor condition, its structure requiring corrective action.
Where I work now, I have budget to take my team somewhere fun every few months. This isn’t uncommon in the software industry. It’s supposed to be a time for team bonding. After 30 years I could live without any more outings. But the young people who report to me are still enthusiastic about it. Fortunately, I have a delightful team and we know how to have fun together.
The weather was good, so we went to the zoo. I brought my Pentax ME with my big 80-200mm f/4.5 SMC Pentax-M zoom lens attached. Kodak Portra 400 was inside. This lens was made for trips to the zoo.
The ME isn’t enough body for this long, heavy lens. My fingers had to grip it hard. My larger Pentax KM would have been a better choice from a handling perspective. But it can’t do aperture priority, as my ME can, which would have slowed me down and perhaps made me miss some photos. But also, I still haven’t had the KM repaired after I dropped it on its Operation Thin the Herd outing. The ME is my only working K-mount body right now.
This is only my second experience with Kodak Portra 400 (first here). I like it a lot better this time than last. These colors are terrific. I’m leading with some birds because they’re so colorful, but the Portra beautifully handled the muted, neutral colors that are so prevalent there, too.
The Birch Bayh Federal Building and United States Courthouse Pentax ME, 35mm f/2.8 SMC Pentax-A Film Washi S 2019
I’m at best a beginning student in photography appreciation, with limited ability to describe the qualities of a good photograph. For that matter, I’m not even sure I can judge a photograph to be good, not on some universal scale. I just like what I like.
I like this photograph. The 35mm lens brings in tons of interesting context surrounding this neoclassical federal courthouse. The glowing sunlight cast against the building’s facade contrasts pleasingly against its shadowy flank.
It’s said that Film Washi S performs best in diffuse light. For a day of black-and-white photography in full sun, I should have been better served shooting something like T-Max 100 or FP4 Plus. But I would have missed out on the chiaroscuro effect, though unintended, obtained in shooting this film in non-ideal light.
Analogue Wonderland provided me this roll of Film Washi S in exchange for this mention. Buy yours from them here.