Camera Reviews, Film Photography

Operation Thin the Herd: Minolta Hi-Matic 7

Fishers Construction

This Minolta Hi-Matic 7 was one of the first cameras I bought when I restarted my collection in 2006. I had decided to collect 35mm rangefinder cameras, and this was the first one I found at a price I was willing to pay. I happily kept buying rangefinders right up to the day someone gifted me a 35mm SLR. Right away, through-the-lens composing charmed me and my rangefinder predilection went right out the window. But I’ve kept this camera nevertheless.

Minolta Hi-Matic 7

I’ve shot it but twice before: once Sunny 16 without a battery, and once with a PX-625 battery inserted to take advantage of its onboard metering. That metering couldn’t be easier: twist the aperture and shutter-speed rings to A and the camera chooses both aperture and shutter speed for you. It does so on a linear scale from 1/30 sec. at f/1.8 to 1/250 sec. at f/22 — this camera biases toward the greatest depth of field possible. This was a mighty advanced system in 1963 when this camera was new. Here’s a photo from that latter session, on Fujicolor 200.

Bug light

I’d never shot black-and-white film in my Hi-Matic 7 so I loaded some Kodak Tri-X and headed out on a full-sun June day. Right away there was trouble in paradise. Inside the viewfinder a needle points at the exposure value (EV) the meter calculates, from 5.6 to 17. On that bright day I expected to see that needle point at EV 15 or maybe 16. Instead, the needle was in the red zone above EV 17, meaning it was underexposing by a stop or two. Drat! At least the meter functioned — they often don’t in cameras this old.

Reflected vinyl

What I didn’t do, but should have: set the camera to EI 200 or 100 to compensate for the underexposure. I don’t know why I always think of such things only when I sit down to write about my experience with a camera. Sigh. Fortunately, Tri-X’s incredible exposure latitude — up to 4 stops in either direction — mostly covered for me. Where it didn’t, a nip and a tuck in Photoshop usually did the trick.

Cars

Despite being large and heavy, the Hi-Matic 7 is pleasant to use. A lever on the focusing ring is well placed; my finger always found and moved it without me needing to move my eye from the viewfinder. The rangefinder patch is bright enough even for my middle-aged eyes (and was probably even brighter when it was new). I was able to move fast enough with it to capture my son playing a game at the dining table with the family.

Damion

The Hi-Matic 7 is a lot of camera to carry. Mine has its original leather “everready” case so I slung it over my shoulder, camera inside, as I carried it around. Or at least I did that until the leather shoulder strap broke.

At Rick's Cafe Boatyard on Eagle Creek

I finished the roll at Rick’s Cafe Boatyard, a seafood restaurant on Eagle Creek Reservoir in Indianapolis. It was the site of one of Margaret’s and my early dates, so we like to go back sometimes and reminisce.

At Rick's Cafe Boatyard on Eagle Creek

We always sit on the outdoor deck. Therefore, we only dine at Rick’s in the fair-weather months.

At Rick's Cafe Boatyard on Eagle Creek

One finds few opportunities to make dockside photos in landlocked central Indiana. The Hi-Matic 7 was up to the task. These photos needed little Photoshoppery to look good.

At Rick's Cafe Boatyard on Eagle Creek

See more photos from this camera in my Minolta Hi-Matic 7 gallery.

I had a hard time deciding whether this camera would stay or go. I’m emotionally attached to it as one of the first cameras in my collection, I enjoy using it, and I love the images it returns. But I can’t escape the fact that I’ve put only three rolls of film through it in 12 years. I’m unlikely to use it more than that in the next 12. As I shrink my collection to just the cameras I’ll actually use, I have to let pragmatism win over sentimentality.

Verdict: Goodbye

Get more of my photography in your inbox or reader! Click here to subscribe.
Advertisements
Standard
Film Photography

Shooting Agfa CT Presica 100, original emulsion, cross-processed

While I had my Nikon N90s out I decided to shoot one of the rolls of expired slide film that Stephen Dowling of Kosmo Foto gifted me some time ago. This time I chose Agfa CT Precisa 100, expired since January of 2006. This is another of the Agfa films that survives, zombie-like, after Agfa stopped making its own films. The film sold as CT Precisa today is made in Japan, and by all accounts it’s not the same.

Word on the street is that this stuff loves to be cross-processed — that is, developed in the C-41 chemistry used for color print film. So that’s what I did. Roberts, the photo store Downtown, still has a minilab and they cheerfully processed and scanned my roll.

Stout's

I shot part of the roll Downtown after I got a good barber-shop haircut. I’ve bought shoes at Stout’s — it’s like stepping into 1942 in there, with the same technology and the same service.

Downtown Indy

I aimed my camera (with the 28-80mm f/3.3-5.6G AF Nikkor lens) at anything colorful as I walked along Delaware Street and on the first block of Massachusetts Avenue. The entrance below was to a Burger King when I worked in a building across the street more than 20 years ago. Today it’s a tapas joint.

Barcelona Tapas

I made the photo below to finish the roll before dropping it off for processing at Roberts. I’m a little disappointed that the sun washed out the hood and snout of the Camaro so strongly but I’m showing the photo anyway because of all the colors I got otherwise.

Corvette snout

I also brought the camera to Zionsville Village and made some of my usual shots.

In Zionsville

I really liked how cross-processed CT Precisa rendered the greens of grass — so supernaturally vibrant.

Black Dog Books

Look around online for people who’ve cross-processed this film and they’ll all tell you it really brings out the blues. Sure enough, that’s what happened here.

In Zionsville

After my last roll of expired slide film was so washed out, I researched online whether exposure compensation could help. The wisdom I came upon over and over was that if you weren’t sure how the film was stored, overexpose — but only by about 1/3 stop given slide film’s narrow latitude. So I did. And I didn’t need to; everything was slightly overexposed. Photoshop rescued every shot. This stuff must have been stored frozen until I got it.

Checkers

Shooting this roll of CT Precisa was great fun. Maybe I’ll come upon another someday.

Get more of my photography in your inbox or reader! Click here to subscribe.

 

Standard

Cheveux

Cheveux
Yashica Electro 35 GSN
Kodak Tri-X 400
2018

I’ve been applying what I learned from Berenice Abbott’s New York photography (which I wrote about here). This shot shows it, a little: you can see some of Zionsville Village’s context even though I focused on this store’s entryway as my subject.

It’s great fun to try to recreate some of what I see in other photographers’ works, and then see what I think and feel about the results. What I think about this particular photo is that I didn’t get enough intersecting planes in it to add interest.

If you’d like to get more of my photography in your inbox or reader, click here to subscribe.

 

Film Photography

single frame: Cheveux

.

Image
Photography

Sunny day photos from the Canon S95 in Positive color mode

Southern Fancy

I’m still experimenting with Positive color mode on my Canon PowerShot S95. Last time I experimented the skies were cloudy. So when I got some rare bright sun one recent Sunday afternoon, I took the S95 into downtown Zionsville. Above and below: a colorful Grumman van, at 50mm and 35mm, respectively.

Southern Fancy

Given that my goal is easy digital shooting, I’m happy to report that these photos needed minimal processing. Like last time, I used Lens Profile on each photo to correct barrel distortion. Man, I wish the S95 did a better job of it in the camera. But this time I got smart and created a macro that does the job in one click.

Noble Order

I also chose to tone down the highlights in a couple of these photos, as the S95 didn’t navigate strong contrast as well as I would have liked. If I had shot RAW, I could probably have rescued those highlights even more. But then I would not have gotten these great colors. At the moment, I think I made a fair trade.

Huffy

The bicycle amuses me. It’s been here so long that the chain has gone rusty.

Bench and Steps

I didn’t have a lot of time; I was on my way somewhere. So I just made some quick snaps of anything colorful.

Wine Shop

Positive color mode does saturate the reds.

Red Vans

I like this enough that I think I’m going to make it my default setting. I look forward to taking my first road trip with the S95 set this way. The colors and details are good, and the post-processing is minimal. I’ll love both the first time I come back from the road with 400 photos to sort through.

Get more of my photography in your inbox or reader! Click here to subscribe.
Standard
Film Photography

Shooting Konica Chrome Centuria 200

When Stephen Dowling of Kosmo Foto launched his new site World on Film last summer, he asked me to contribute an article for its debut. That sounded like fun, so I wrote about my Route 66 trip, which I shot on a Kodak Brownie Hawkeye; read it here. To say thanks, he sent me a few rolls of expired slide film. The first one into my Pentax Spotmatic F was 2003-vintage Konica Chrome Centuria 200.

You never know what you’re going to get with expired film. That goes triple for slide film, given its narrow exposure latitude. Conventional wisdom says expose one stop less for every decade a film has been expired. But I’m not conventionally wise: I shot at box speed.

Each frame was badly washed out. Fortunately, Photoshop was able to make usable images out of the entire roll.

At Crown Hill

I started shooting this roll before I moved from Indianapolis to Zionsville. I wanted one more walk through Crown Hill Cemetery, which was so convenient to my former home.

Please sit

I’ve shot this view from Strawberry Hill, the highest elevation in Indianapolis, many times. But never before has it looked like it came straight from a dystopian apocalypse movie.

At the top of Indianapolis

Reading up on this film, I learned that it had a reputation for grain. I got plenty of grain, all right! But these heavily Photoshopped images aren’t a fair representation of what this film could do when it was new.

Down the hill

The 55mm f/1.8 SMC Takumar lens I used was just right for the cemetery’s wide-open spaces and interesting details.

They served

As a whiskey fan, the very thought that a pump might freely deliver delicious Woodford Reserve bourbon charms me no end. (Check the stamping on the pump body.) My sour mash dreams were dashed when I learned that this pump is from the Woodford Manufacturing Company of Colorado Springs. This looks like their Model Y34, which has been manufactured continually since 1929.

Pump

I finished the roll on an evening walk through Zionsville Village. It’s become tradition that I photograph the Black Dog Books sign. Then Margaret and I stepped inside for the first time, where I found and purchased a book of Edward Weston photographs.

Black dog

This expired stock let every color fade away — except red.

Oak St.

This film was still in my Spotmatic when Margaret and I traveled to Versailles, Indiana, for a meeting of the Historic Michigan Road Association. We met in a stunning Art Deco church. Look for photos of that church on this expired film in an upcoming post!

Get more of my photography in your inbox or reader! Click here to subscribe.
Standard
Photography

Very expired Tri-X of unknown provenance on Expired Film Day

March 15 was Expired Film Day. I prefer my film to be fresh. But when fellow photoblogger (and EFD instigator) Daniel Schneider sent me two rolls of expired Tri-X to shoot that day, I went all in.

Daniel hand-rolled this Tri-X from a 100-foot box he came upon. He didn’t know how old it was and expressed concern about how it had been stored, so he recommended shooting this ISO 400 film at at ISO 100 or maybe even ISO 50. That said a lot — Tri-X is a mighty resilient film. Stored at room temperature, well-usable images can be made from it for decades. Stored cold, it behaves like new virtually forever.

I made time on Expired Film Day to shoot just one of the rolls. I used my Nikon F3 and my 35mm f/2.8 AI Nikkor lens, which is a great combo for walking around and photographing whatever I find, which is what I did. I still worked in Zionsville then, so I went over to Lions Park and photographed the Little League practice diamond. This is my favorite photo from the roll.

Home Plate

I shot this roll at ISO 100. Every photo was underexposed. When I shoot the other roll, I’ll shoot it at ISO 50.

Hoop

Still, I like the dystopian look of these photographs.

Lion

I also walked through the Village in downtown Zionsville as I burned through this roll.

Closed

Ooo, a little sprocket ghosting in this photo of Main Street.

Zionsville

This photo’s composition is terrible, but I love the way the light plays across the building. MOBI was my previous employer; I left there late in March to join a new company as Director of Engineering.

MOBI

I finished the roll with a couple quick shots at my desk. I seem always to have a couple rolls of film here either waiting to go into a camera or waiting to be mailed to the lab.

Film cans

One last shot, of the lamp next to my monitor. I love the ragged edge at the bottom, an artifact of this being the last shot on the roll.

Lamp at the tail

I’ll be back for Expired Film Day in 2018. Maybe I’ll find something off-the-rails expired, like Ansco All-Weather Film from 1965 or Kodak Vericolor III from 1982.

 

Standard