United States Court House and Post Office Olympus XA2 Ultrafine Xtreme 100 2019
I sometimes wonder if anyone notices me photographing this building. I’ve done it a lot lately. It is, after all, a federal courthouse — the threat of terrorism has all federal buildings on alert. I’m sure security officers are always watching.
But I’m a middle-aged man in business casual dress carrying an old film camera. I hope that signals I’m a threat to nobody.
My last go-round with Ultrafine Xtreme 100 in my Olympus XA2 went badly. You can see some of the photos here. I have no idea what went wrong.
I wanted to take a compact film camera along on the trip my wife and I made to New Harmony in July. The XA2 was handy and, not remembering my unfortunate results from last time, I loaded my last roll of this film and went on my way.
Everything worked fine.
I didn’t make any particularly inspiring photographs with the XA2 in New Harmony. I was also shooting my digital Canon S95, and it just felt like a color weekend. I made only eight photos in New Harmony with the XA2. Here’s a double log cabin on the grounds of the Lenz House.
The XA2’s meter and Xtreme 100’s sensitivity came together to handle this challenging exposure situation well.
I took the XA2 to work and left it in my desk drawer for a few weeks, taking it on lunchtime photo walks whenever I felt like it. This Indianapolis street scene looks northbound up Delaware Street toward what everybody calls the Gold Building, as those mirrored glass panes are so tinted. I worked for a company in the Gold Building when my now 22-year-old son was born.
I’ve been fascinated lately with the federal courthouse and have photographed it with several camera/film combinations lately. It was completed in 1905. This building was once also a post office, I believe the main one for Indianapolis. It hasn’t been that in a very long time, but the engraved words above the entry still announce it as such.
I photographed the AT&T building from the courthouse. I like the look of a desolate street, so I waited several minutes for traffic to clear.
I like Ultrafine Xtreme 100. It captures a good range of tones, its blacks are deep, and it seems to have good exposure latitude. That last bit is especially important for a photographer like me who shoots old gear with light meters of unknown accuracy.
Rumor has it that this film is repackaged Kentmere 100. Here are posts from every roll of Kentmere 100 I’ve shot; compare and judge for yourself.
I’ve never read a negative review of Olympus’s XA2, a remarkably compact 35mm camera. Everybody seems to like it. eBay bears it out: prices hover around $100 for working and complete examples. I am fortunate, as this one came to me for free from the collection of an old friend’s father.
The tiny XA2, introduced in 1980, was based on the 1979 XA but replaced its rangefinder with zone focusing and its f/2.8 lens with an f/3.5 lens. And when I say this camera is tiny, I mean tiny — it’s only fractionally larger than my Canon S95 or my wife’s Sony RX100, both compact digital point-and-shoot cameras that don’t have to hold a 35mm film cartridge.
I loaded a roll of Ultrafine Xtreme 100 black-and-white film, pulled a battery out of another camera I’d just finished using, slipped this XA2 into my coat pocket, and took it everywhere for a couple weeks. And then, as I explained in this post, I got black shadows, blown-out highlights, poor sharpness, and lack of detail. Here’s a shot from inside a nature park near my home, heavily Photoshopped to make it usable.
I know better than to test a new-to-me old camera with an old battery and film I don’t know well yet, and then to send the film to a lab I’m still getting to know. So I declared the first test roll null and void, and loaded a fresh battery and tried-and-true Agfa Vista 200 into the camera. I had the camera shop downtown process and scan the film. Glory be, I got good stuff back from the XA2 this time.
The little green light inside the viewfinder came on a lot, meaning that the XA2 needed a slow shutter speed to get a good exposure and that you should consider using flash or a tripod. Bollocks, I said each time. Every day but one I shot this camera I enjoyed full sun. I should have been getting plenty fast shutter speeds.
I can’t tell what is making that green light come on so often. The XA2 doesn’t tell you what aperture and shutter speed it’s choosing based on the meter’s reading, so I don’t know how I would check this meter’s functioning against a known-good meter. But these results speak for themselves: it didn’t matter.
Autumn came late in central Indiana this year. It served to deepen the eventual colors, but to shorten their life span. It seemed like all the trees changed color and dumped all their leaves inside two weeks. I was fortunate to be able to take several good walks with the XA2 in my coat pocket during those days. That’s the XA2’s killer feature, by the way: you can carry it everywhere so easily.
These full-sun photos were all noticeably vignetted, so much so that in the centers, light colors tended toward white. I was able to fix that pretty well in Photoshop. I had the same effect with an XA2 I used to own, so I assume this is endemic to the camera.
I experienced the common (and minor) challenges with the XA2 as I used it: the clamshell cover hangs up unless you slide it open in exactly the right direction, and the shutter button is super sensitive and likely to fire when you don’t mean it. If this were my only camera I’d get past those quirks after three or four more rolls.
I finished the roll before meeting a friend for lunch Downtown on a gray, chilly day. That green slow-shutter light was on for every shot, but as you can see the camera did fine.
When you close the XA2 it moves the focus to the middle zone, which brings into focus everything 4 feet or more away. Because the camera biases toward big depth of field, for most subjects you can just open the camera, frame, and press the button. For truly far-away subjects you can use the landscape setting, and for close subjects (no closer than three feet, though) you can use the portrait setting. I did that here, and in this light got a narrow-enough in-focus patch that the background blurred a little.
Many film photographers say they prefer the XA2 to the XA. I’m not in that camp. I like the XA’s rangefinder and I prefer the characteristics of its lens. That said, the XA2 is almost point-and-shoot simple with plenty great optics. If I shot people on the street, this would be a great camera for it: open it, frame, snap, done.
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I recently put a roll of film through an Olympus XA2 that someone gave to me. I’ve owned another XA2 so I know that this is a lovely camera — very compact, with a great lens and easy zone focusing. But then I made a series of rookie mistakes shooting this one and it reminded me of a key lesson: when testing something, let the thing you test be the only unknown.
I didn’t follow that maxim when testing this XA2:
I grabbed a battery out of another camera I’d just shot, which I had pulled out of another camera, and another before it, and who knows how many other cameras before that. That battery could have been tired.
I used a film I’m still getting to know, Ultrafine Xtreme 100. I’ve liked it a lot every other time I’ve shot it, but I don’t know how it behaves in all conditions yet.
I used a lab that is fairly new to me to process and scan the roll, and I’m still learning their capabilities.
The scans looked terrible, with both blown-out highlights and very dark shadows. I couldn’t tell how much of that was the lab’s fault and how much was the fault of bad exposures. No amount of Photoshopping could save them. I rescanned the negatives on my flatbed scanner (a Canon CanoScan 9000F Mark II) using the software that came with the scanner. That improved them enough that Photoshop could make the images usable.
Here are a few photographs that show what came off my scanner. This was the worst of the photographs as the bridge was badly blown out. I severely squashed the highs and lows out of the shot in Photoshop to make it sort of usable.
This shot is probably the best-exposed of the bunch, and I still had to heavily adjust highlights and shadows on it.
The just-before-dusk light in the nature park was challenging. I had another camera along, one I’ve shot many times. Its meter got the highlights right but left the shadows very dark. So perhaps this was an extreme test of an unknown camera. Fortunately, I took this XA2 along on a day trip to a distant town. It was near the middle of the day and the sun was fully out.
Even on these shots the shadows were very dark. The highlights weren’t as blown, however. But these shots miss the mark in sharpness and detail.
These photos clearly do not represent what this camera or film can do. Here’s a photo I took with my other Olympus XA2, beautifully exposed and full of life.
And here are a few photos on Ultrafine Xtreme 100 from other cameras. First, from my Zeiss Ikon Contessa LK:
And now from a Minolta XG 1 with the 50/1.4 MD Rokkor-X lens.
That frame was processed and scanned by the same lab as did the roll from the XA2, so I know the lab is capable of good work.
I have put a fresh battery and the film I know best, Agfa Vista 200, in the XA2 for another try. I must have missed it before, but the in-viewfinder underexposure light comes on in situations when I would expect it not to. All may not be well with the meter. So the lab appears not to be the problem — instead, it’s probably the camera itself, the one thing that should always have been the only unknown in this equation.
After shooting my Minolta XG 1 in Operation Thin the Herd, I decided it was time to part with all of my Minolta gear. Bit by bit I’ve been selling it off. But before I let my 50mm f/1.4 MD Rokkor-X lens go, I shot one last roll of film with it.
It’s a crying shame I’ve had such bad luck with Minolta bodies, because the lenses are sublime. This 50/1.4 leads the pack. It’s easily the finest 50/1.4 I’ve used for any system.
Ultrafine Xtreme 100 has been a good utility b/w film every time I’ve used it, but this lens made the stuff absolutely sing.
Just look at that sharpness and detail! If only I had better luck with Minolta bodies, this lens and I could have made beautiful music together for years to come.
But I sold the camera to one person and the lens to another. I hope that they both get excellent use in new hands.
Now every time I look at these photos, I will think wistfully about this lovely 50mm f/1.4 MD Rokkor lens.