Your table awaits Pentax Spotmatic F 55mm f/1.8 SMC Takumar Ferrania P30 Alpha Rodinal 1+50 2020
The last two years for my birthday I had everyone in the family who could make it meet at Muldoon’s, an Irish pub in Carmel. The first year it was nice enough outside to sit here, on the patio. They make outstanding nachos. I know, nachos at an Irish pub. They call it Irish pizza. It’s loaded with crumbled sausage — unique and delicious. The cheese is top quality. It’s a giant calorie bomb but it’s soooo goooood.
Who knows where we’ll be in the coronapocalypse on my birthday this year, but I’m not feeling great about returning to Muldoon’s for a third year. I haven’t figured out yet what my birthday celebration will look like, or whether I’ll be able to see any of our children that don’t live with us.
I’m starting to develop 35mm black-and-white film now. It was my goal all along — I started with 120 because it let me shoot a roll fast so I could get to the developing. I shoot way more 35mm than 120 normally.
Last week I shared a roll of Arista EDU 200 I shot, developed, and scanned. I thought surely it and my whole box of to-shoot film was damaged by a space heater I kept too close by. But a commenter said “hey, maybe your Rodinal has gone weak.” I did open a new bottle of Rodinal to process some Eastman Double-X 5222 and, spoiler alert, it turned out perfect. So it was the Rodinal. Maybe I didn’t get the cap on right last time, and for the little bit left in the bottle the air scotched it.
I didn’t get that comment before I used that potentially compromised bottle of Rodinal to process this P30. Several photos turned out reasonably well. They might have looked better in fresh Rodinal. But they show P30’s signature characteristics: nearly undetectable grain, rich blacks, strong contrast, and a reasonable tonal range.
I shot this roll in my Pentax Spotmatic F with the 55mm f/1.8 SMC Takumar lens attached. I developed it in Rodinal 1+50 at 21° C for 12 minutes, 40 seconds. Ferrania advises 20° C for 14 minutes, but the ambient temperature led to 21° developer and I had to adjust development time. I used the Massive Dev Chart’s converter. The first two shots are from downtown Carmel, and the next four are from Broad Ripple.
Some photos didn’t fare as well. Anything with significant amounts of sky in it suffered. I shot all of these around Broad Ripple.
Interestingly, the film closest to the outside of the roll fared the worst. This is one of the first photos I made on this roll. It still shows P30’s signature rich blacks, despite being so mottled overall.
One last photo, just because I like it. That’s my wedding ring on the ring holder thing we keep near the kitchen sink. It’s Belleek pottery; we bought it at the Belleek factory in Northern Ireland when we visited a few years ago.
I have one last roll of P30 Alpha, which I just retrieved from my freezer. I’ll shoot it soon and I expect far better results from it, developed with fresh Rodinal 1+50.
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.
Lab scans of 35mm color negatives are miracles. Any lab I routinely use reliably sends me crackerjack digital images.
Getting usable scans from my CanoScan 9000F Mark II via its ScanGear software, on the other hand, is a lot of work involving a number of subjective choices in scanning and post-processing.
I used to think that the colors I got back from the lab were the film’s true colors. I see now how much of that is in the scanner settings, and that I don’t actually know how any film I typically use renders color.
The improvements I made this time were to scan to lossless TIFF files, and to turn off ScanGear’s Image Adjustment setting (which I had overlooked when turning off all the other image-enhancement settings). It helped? I think?
Here’s my scan of a photo I made on Kodak Gold 200 with my Olympus OM-1 and a 50mm f/3.5 Zuiko Auto Macro lens. There’s a little of that mottling in the blue sky that I keep trying to prevent. But it’s not as bad as in previous scans.
Roberts Camera scanned this film when I had them process it. It’s a touch brighter than my scan. The sky has a slight turquoise tint and lacks any mottling. Otherwise, either scan is fine.
Here’s my scan of a butterfly pausing over this flower. Notice how purple the flowers in the background are.
Roberts made those same flowers quite pink, but brought out the detail lurking in the butterfly’s wings.
I also tried scanning some Kodak Ektar 100 I shot in my Pentax Spotmatic F with a 35mm f/3.5 SMC Takumar lens.
Here’s Robert’s Camera’s scan. They got richer colors than I did, although I’d say the sky in mine looks more realistic. The green tint on the right edge of my scan is clearly an artifact of the negative that Robert’s somehow edited out.
I walked over to the building to make this close shot. My scan:
Roberts Camera’s scan got a richer red, but my scan offers better highlight detail.
It was so much easier when I accepted whatever color I got from my lab scans, as if they were the final word on film and lens. Now I’m suspicious of every scan, because of all the choices it represents. Is it possible that the only way to truly know what colors are in a negative is to make a darkroom print?
This, by the way, is the last in this series of experiments. I’ve learned what I need to. I get good enough black-and-white scans now to start processing and scanning black-and-white film, which was my goal. Now that I work Downtown in Indianapolis, eight blocks from Roberts Camera and their C41 lab, I’m likely to have them process and scan my 35mm color negative film. They charge just $10.
I decided that I’d own but one Pentax SLR body for the M42 screw lens mount. It was easy enough to discard a Spotmatic SP with a dead meter and a rough winder. But I still had to decide between my ES II and this, my Spotmatic F, both of which offered open-aperture metering with Super-Multi-Coated and SMC Takumar lenses.
It was a tough choice. My ES II is an aperture-priority camera and that’s my favorite way to shoot. It was in very good cosmetic and functional condition. The Spotmatic F has a match-needle exposure system, which is a half-beat slower for me than aperture priority. But it had been a seldom-used sales demonstrator and had been CLA’d when I got it. It was, essentially, new. And what a performer it is! Here’s a favorite shot I made with a 55mm f/1.8 SMC Takumar lens on Kodak Plus-X.
I loaded some Ektar 100 into the Spotmatic for this outing, and screwed on my 35mm f/3.5 Super-Multi-Coated Takumar lens. I love the 35mm focal length for everyday walking-around photography, which is the kind of photography I do most often.
The SPF felt wonderful and performed flawlessly in my hands, just as it always had. The Ektar beautifully captured the September colors.
Every photo on the roll came out a little overexposed, though. I’ve noticed that on the Pentax bodies I own that were CLA’d by Erik Hendrickson (as this one) I always need to reduce exposure in Photoshop by a half stop or so. Perhaps I should set the cameras that way. Perhaps I should test this SPF’s exposure readings against a known-good light meter.
I felt mighty lazy the day I took this photo walk — I couldn’t be bothered to move in closer to a number of subjects. This one would be helped by a closer crop. When was the last time you saw a Chevy Citation parked curbside, though?
I took two walks through Zionsville to complete this roll. Zionsville is simply charming.
Using the SPF cemented my decision. Before I even sent this roll of Ektar off for processing, I gave the ES II to a fellow film photographer. The ES II remains a lovely and capable camera, and there will be times I wished my SPF would let me shoot aperture priority. But this SPF is just too compelling on its own to let go of.