Our granddaughter came over one sunny Sunday morning not long ago, so I got out my Yashica-D and loaded my first roll of the new 120 Kodak Gold 200 into it. I shot the whole roll that morning.
My wife brought our granddaughter into the yard to plant some annuals into larger pots. Whatever Grandma is doing, our granddaughter wants to do it too!
I took one meter reading in this well-shaded area and made all of my shots here using it, knowing that Gold’s wide exposure latitude would cover any minor variations in light from shot to shot. I shot these at f/5.6 or f/8, which in this light yielded a shutter speed too slow to freeze motion.
I attached my Spiratone close-up kit and photographed some flowers in our yard. The phlox I planted last year sent up just a few blooms this year.
Margaret bought a flat of these purple annuals and is putting them in pots as she has time. Some are on the porch and some are on the deck.
When I’ve shot Kodak Gold 200 in 35mm, I’ve gotten colors that are a more saturated than this. But I find this moderate saturation to be pleasing.
It’s easy to see that Kodak Gold 200 in 120 is a good general-purpose color film. I look forward to the four rolls I have remaining.
I’m going to make a book out of my favorite photographs from my Yashica TLRs. It should be easy to put together; I’ve already selected the images I want to print in it. I just need to write something up for each photo, much like I do for the images in this “single frame” series.
I’m taking to heart the feedback a few of you gave me on Vinyl Village, that the photos’ reproduction quality was not up to snuff. I printed that book through Amazon. I might use Amazon again, but go with their top-quality ink and paper. I might try MagCloud — it would be a lot more expensive, but the quality would certainly be there. I might do both.
I made this photo with my first Yashica-D on the Clay County, Indiana, courthouse lawn.
My photo essay book, Vinyl Village, is available! Click here to learn more and get a copy!
I recently got decent results developing 120 Ilford FP4 Plus in LegacyPro L110, Dilution B (1+31). The more I use this Kodak HC-110 developer clone, the more I like it. Meet my colleague Ishank.
And this is Trent. We met for lunch Downtown on a warm autumn day. A particular cheeseburger joint has plenty of outdoor seating.
We met for lunch on Indianapolis’s popular Massachusetts Avenue (“Mass Ave,” we all call it). We met on the block in the photo below thinking we’d hit the fried chicken place, but we learned that during COVID they’re not serving lunch. So we walked up the street and found the cheeseburger place open.
In many shots, blacks went to 100% and there was no detail available to retrieve in Photoshop. Areas of Ishank’s hair, beard, and T-shirt came out fully black. In the photo below, note especially the side of the truck in the foreground, and the slacks of the woman in the mural.
I probably underexposed those photos. I should have metered for the shadows, especially in the photo above where the light is so mixed. Instead, I started the meter app on my iPhone, aimed it at the middle of the scene, and set the Yashica-D to whatever it said. I would do well to be more disciplined in my metering technique. Fortunately, my hasty technique worked fine in even lighting, as in the scene below.
I shot these in my Yashica-D. I use my Yashica-12 more often because of its built-in meter and easy crank winding. But the D is still a lovely camera. Its Yashikor lens, a triplet, gives a lovely swirly bokeh (see the portraits above) that the 12’s Yashinon lens, a Tessar clone, can’t match. People in the photo forums decry the Yashikor’s softness compared to the Yashinon, but I find the Yashikor to be plenty sharp.
Speaking of sharpness, I continue to learn so much from your comments. On my recent post about Kodak Panatomic-X film, Ted Marcus recommended deconvolution sharpening over unsharp masking. I searched the Internet for more info and learned that you can do it natively in Photoshop’s RAW editor. This article explains. I like the effect better than unsharp masking. The real test will come when I try it on 35mm scans.
I took the Yashica-D on a drive one chilly lunch hour and stopped in some familiar places. If I had known that fellow was going to bike into my frame, I would have waited a second or two longer so he would have appeared in a more interesting spot!
I like shooting 12-exposure rolls of film when I’m shooting aimlessly like this. One good photo walk, or two or three short photo walks, and its into the developing tank with the roll. It also reminds me of my early days making photos in my little Kodak Brownie Starmite II and later in my crappy Imperial Magimatic X50. I had no choice but 12 exposures in the Brownie on 127 film. I could buy 20- (and later 24-) exposure 126 cartridges for the Magimatic, but often bought 12-exposure cartridges because they were less expensive. I had so little money then. I hadn’t worked out yet that it was more economical per frame to buy the 20-exposure cartridges, especially when you factored in developing and printing.
I often like the medium-format version of a film better than its 35mm counterpart. The larger negative opens up the film and shows you what it can really do. This goes for the new 120 Mono film from Kosmo Foto.
When friend-of-the-blog Stephen Dowling, the man behind Kosmo Foto, announced this new film, I preordered immediately. My order arrived in due course, but it took me a couple months to find a day to spool a roll into my Yashica-D. I took both on a walk up and down the lovely Main Street in Zionsville.
Dowling makes no bones about it: this is an existing film, repackaged for Kosmo Foto. This classic emulsion features strong contrast and managed grain, much like black-and-white films of old. Best of all, it’s reasonably priced. If you’re curious, get yours here.
It was a full-sun summer day as I strolled Zionsville’s charming brick Main Street. A lot of classic emulsions struggle to keep highlights in check on days like this; no so Mono.
Moving in close, as close as my TLR would let me anyway, Mono shows good resolving power.
I don’t mind doing a little work in Photoshop to make my photos more presentable, but it sure is nice when I can use them right off the scanner. Such was largely the case with these images. The only thing I did consistently was rotate them slightly so the verticals were vertical and the horizontals were horizontal; I do struggle to hold a TLR level.
It’s not a photowalk in Zionsville unless I photograph the great Black Dog Books sign.
Rich blacks, reasonable midtones, good contrast, barely detectable grain. What’s not to like about Kosmo Foto Mono in 120?
I wonder why square photographs aren’t more common. Maybe it’s because starting in the 1980s 35mm point-and-shoot cameras became popular. That could have cemented the format’s 3:2 ratio as normal for photographs.
In the digital era the DSLR kept 35mm’s 3:2 aspect ratio. Point-and-shoots went with 4:3 for some reason, but that’s close enough to 3:2 to not look weird. My digital point-and-shoot, a Canon S95, has a 1:1 setting buried somewhere in its menus. My iPhone 6s also offers a square setting. But no digital camera I know of shoots square by default.
For me, however, shooting square feels like going back to my roots. For the first eight years of my photographic life, I shot nothing but cameras that made square photographs. It was the 1970s and early 1980s; square was very common then thanks to the wildly popular 126 format.
Here’s a scan of a print from my first-ever roll of film, Kodacolor II in a Kodak Brownie Starmite II, August, 1976. Side note: just look at how beautifully these drug-store-print colors have kept over the last 40+ years! These are my childhood friends Darin, Colleen, Christy, David, Mike, tank-topped kid whose face I can’t see and therefore whose name I can’t recall, and Craig just entering the frame from the right.
Here’s a scan of the negative, cropped 3:2 to the subject. Conventional wisdom calls this the better composition because the subject fills the frame. But what it lacks is the big blue sky we used to play under and the city infrastructure that lay all around and above us. The crop also cuts off the rounded tip of Mike’s grand walking staff. The square format brought in all the details.
That’s not to say that square format is inherently magic. Just like with any aspect ratio you have to find the subjects and compositions that work best. Here are some decent square photos I’ve taken more recently.
I made one more experiment scanning negatives on my CanoScan 9000F Mk II and its bundled ScanGear software. This time I tried scanning black-and-white medium-format negatives.
I hope to start processing my own black-and-white film, especially in medium format, this year. I don’t shoot as much medium format as I’d like because processing and scanning costs about $17. That’s a buck and a half to two bucks per frame! Processing and scanning my own will manage medium format’s costs better.
I went back to 2016 to find some images I made with my Yashica TLRs, a Yashica-12 and a Yashica-D. These cameras have wonderful lenses that make the most of whatever film I put behind them. Here is a scan I made of a scene on the square in Lebanon, Indiana, on Kodak Tri-X.
Here’s a crop of my scan at 100%. I scanned at 2400 dpi, by the way, and applied unsharp masking and other tweaks in Photoshop until the image was to my liking. That’s some pretty good detail right there.
Here’s the scan Old School Photo Lab delivered, after I tweaked it in Photoshop to my liking. Both my scan and Old School’s scan are crops of the original image to the interesting part of the scene. My scans are about 5200 pixels square, give or take, while Old School’s are slightly off square at 4832×4760 pixels.
Here’s my scan of the Boone County courthouse in Lebanon’s square.
And here’s Old School Photo Lab’s scan. Either scan is acceptable. I like the tonality in my scan a little better as it feels more realistic to me. The Old School scan looks to be a bit sharper.
The next two images are from my Yashica-D on Fujifilm Neopan 100 Acros. I could have done a better job of cleaning minor dust marks off my scan, which is below. It’s otherwise a perfectly usable scan.
Here’s Old School Photo Lab’s scan. At blog sizes, they’re hard to tell apart. Both images are crops of the original frame, by the way.
These two images are from the far-northwest corner of Indianapolis, which is quite rural. Here’s my scan of a cemetery that lies along the road above.
Old School Photo Lab’s scan appears sharper — compare the grass in both scans. But either scan is eminently usable for my purposes.
I am pleased with my scans. I would use them for any of my usual purposes.
These experiments, and your comments on them, have taught me some key techniques. First, thanks to your advice I’ve turned off all the built-in image improvements in ScanGear and scan at as close to 4800 dpi as I can. Second, I’ve learned enough about the Amount, Radius, and Threshold settings in Photoshop’s Unsharp Mask filter to sharpen my images acceptably.
I see I’ve still much to learn about how to look at a photograph and see its details. In these experiments I’ve studied my scans in far more detail than I’ve ever studied a photograph, and compared them in depth to the lab scans, and thought about what I like in a scan. I realize I need to study far more photographs to learn how to see their details and decide what I like.
I also now realize just how much the quality of a lab scan might have affected my views of various cameras, lenses, and films, and how excellent scans might have enabled the praises I heaped on particular gear or films.
I feel like a man who thought he’d climbed a mountain, only to find that he had scaled but a foothill to see the real mountain emerge from the mist.