Old cameras fail. Fortunately, some skilled repairers remain. The meter in my Pentax Spotmatic F failed, so I sent the body to Eric Hendrickson for a new meter. It came back recently so I ran some Ultrafine Extreme 400 through it as a test.
Our granddaughter was over on a recent Sunday morning and was a good sport as I photographed her eating her breakfast.
Here she is with her grandma, my wife, Margaret.
I shot the rest of the roll on la-de-da subjects around the house.
I shot these through my 55mm f/1.8 SMC Takumar lens, and developed the film in HC-110, Dilution B.
My Olympus OM-1’s meter wasn’t reading right anymore, either, so I sent it to John Hermanson for an overhaul and repair. I’ll test it and share photos when I get it back.
I’ve been meaning to try Kodak ProImage 100 for some time now, so when I needed to order something else from Freestyle Photographic I threw in a couple rolls of it.
I shot the first roll in my Olympus XA2. I kept it in my bike’s saddlebag and shot things I saw as I rode around. I love doing that! When I got the roll back from the developer, I instantly disliked the muted, sickly greens I saw. Unfortunately, on this roll most of what I shot was green. Welcome to late spring in rural Indiana!
The film captured yellows, blues, and reds pleasingly, and with good fidelity to real life.
Despite unsatisfying greens, I like how this photo turned out compositionally. There’s a saying in Indiana: knee high by the fourth of July. That refers to corn, and how tall it should be by Independence Day. I photographed this corn in the second week of June — it’s ahead of schedule.
My favorite photo from the roll is this one, which I made when I drove Downtown to meet my brother for a drink. This bar has arguably the most extensive whiskey selection in Indiana. I had a delicious whiskey from Oregon that reminded me of a peaty scotch, and an unremarkable whiskey from Nebraska. The ProImage 100 delivered true-to-life reds and excellent blacks.
I put a second roll of this film into my Pentax Spotmatic F and screwed in my 35mm f/3.5 SMC Takumar lens. The camera came with me to work, so most of the roll features images from Downtown Indianapolis. I got far better results this time. It’s probably valuable to note that I used a different lab to process and scan these, which might also play in these results. But bottom line, the sickly green caste was gone.
The meter on my Spottie was fussy through the roll, and it quit registering altogether toward the end. I brought the camera home and blew through the last of the roll using the Sunny 16 rule. The greens were not so sickly this time.
I’ve not been thrilled with my Olympus XA2’s performance at all this year, with any film. So perhaps it was a poor choice to test Kodak ProImage 100. When I shot the film in my Spotmatic, I got fine results. This is a good all-purpose film. Its color palette is slightly muted compared to Kodak Gold 200 and Kodak Max 400, which is nice. But I don’t see myself buying it much when I can buy Gold and Max for far less. Both films look wonderful with a stop of overexposure, bringing them in line or close to ProImage’s speed — and both films cost a lot less than ProImage.
I like to learn things by trying them. It would be a lot more efficient if I could learn things by reading about them, or hearing about them, and accepting the information as fact. But I always have to find out for myself.
The blogs and forums all say that Fomapan 400 looks best when shot at EI 160 or 200. But the box says 400. I’m stubborn about this: why the heck would a manufacturer rate a film at a particular ISO if they don’t mean it? Call me stubborn, but I always shoot a film for the first time at box speed. If the results demand it, the next time I shoot I adjust exposure up or down as appropriate.
It was time to give my Spotmatic F some exercise. I chose my delightful 55mm f/1.8 SMC Takumar lens for this roll. I developed the film in LegacyPro L110, dilution B.
I got okay results from most of the roll. I’m pleased with my bathroom-mirror selfie above. Everything is so sharp, you can almost count the hairs on my head. I’m reasonably pleased with these next four photos. They show good detail and a reasonable tonal range, and good contrast after I boosted it in Photoshop. My Minolta ScanDual II scanner delivers mighty flat scans, so punching up the contrast is a must. If you pixel peep you’ll see lots of pleasant grain.
The main challenge I had with this film at EI 400 that shadows looked underexposed. This photo shows this reasonably well; look under the front bumper and around the wheels. The negatives looked to have good density to me, though I’m still developing my eye for that.
A few shots on the roll looked flat and lifeless, no matter what I did to them in Photoshop.
A couple of the flat shots benefited from reducing exposure in Photoshop, at cost of enhancing the grain.
It was lovely to shoot my Spotmatic F again. It’s such a wonderful SLR. Every time I use it, I wonder why I don’t use it more often. Then I remember that I own about 15 very nice SLRs at the moment, plus about 20 other lovely cameras. I’d have to shoot one roll of film every week to be able to use each of my cameras about once a year.
I bought several rolls of Fomapan 400 (and 200) when Freestyle Photo had it on sale not long ago. I’ll shoot another roll of the 400 again soon, but I’ll set my camera to EI 200 and see what happens then. Because I’m an experiential learner.
When I bought my previous house, I had next to nothing. A futon, a bunch of end tables, a TV. I had to buy everything else. I bought some lamps at Target. One of them has a wooden tripod base, which I thought was cool for what are probably obvious reasons if you’ve read my blog for more than five minutes.
For years it stood on the table next to my easy chair. Since moving in with Margaret, it’s been on a table next to my desk. Given that I usually load film into cameras while sitting here, and I usually need to burn off a shot or two after closing the film door, I photograph this lamp a lot now.
I made this particular photo in my Spotmatic F on Fomapan 400, a film I’d never shot before. This being the first photo on the roll, half of the negative was blank from being exposed to light during loading. I cropped that part out and boosted contrast in Photoshop, which brought out the lampshade’s two textures. I find the tonality, softness, and grain of this image to be pleasing.
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.