Where Margaret and I will live next is a frequent topic of our conversation. We agree that it’s time to move on from this house. We’d stay in Zionsville if we could afford a house in the original town. It’s lovely and charming there, and a small but vibrant downtown is within walking distance.
Trouble is, homes here are among the most expensive in the state. The median list price for a home here is about $450,000. My neighborhood is the least expensive way to get a Zionsville address, but you can’t move in here for less than $200,000. I know that these prices may not shock you if you live on the coasts or in a major population center, but here in Indiana these prices are ridiculous. In Indianapolis, the median house list price is only $179,000. Outside of Indianapolis, it’s even lower than that!
We’d like to have a large home so we can host our seven kids, their partners, and their children. And our parents, while they’re still with us. This one would be a grand-slam home run for us with five bedrooms and four bathrooms. Built in 1870, it oozes character.
Unfortunately, it’s listed at three quarters of a million dollars. A similar house in Indianapolis, even as well cared for as this one, couldn’t command anywhere near that. If it were in a desirable neighborhood, I’d say half a million tops. In an average neighborhood, even less.
I’m not willing to pay a half million, either. But man, this house would be a lovely place to live.
I’ve had about enough of my scanner, a Canon CanoScan 9000F Mark II. Despite getting negatives with gorgeous density when I developed Ilford Delta 400 in LegacyPro L110, a Kodak HC-110 clone, about half of the scans look terrible. I used the Ilford data sheet recipe of Dilution B, 7:30 at 20° C. I made the photos in my wonderful Olympus XA.
I made these three images on a graffiti wall in Bloomington when I was there to walk in a park with my oldest recently. The tonality and sharpness are pretty good. These images needed very little post processing.
On the way home I stopped in Martinsville to see an old friend, this brick road that was probably laid in the 1910s. It is the precursor to State Road 39, which is maybe 500 feet to the left, out of the frame. The bricks in the foreground look nearly three-dimensional, as if you can reach out and touch them.
I went to McCormick’s Creek State Park to walk with my youngest. Thanks to COVID-19, I’m seeing my adult children in the outdoors whenever the weather allows it and I can get away. My scanner just couldn’t pull good detail out of the shadows on these negatives.
I had a chance to visit my favorite abandoned bridge on the way home. It was starting to get dark that gray afternoon and the XA gave me shutter speeds of 1/15 or less at apertures that would secure lots of depth of field. I backed off to f/5.6 as a compromise, but for some reason I got underexposed negatives. My first scans were so dark as to be unusable. I re-scanned these images, tweaking settings to bring out the shadows, and got images like this one. It’s better, but still not great.
I have no idea what happened in this image, which I made at the Bloomington park. It’s grainy and not sharp, and the tones are flat. Maybe that reflecting mirror fooled the meter?
I finished the roll in downtown Zionsville. This is the best image from that little walk, technically. A couple other images have a more interesting composition, but I whiffed focus or shook the camera a little. It was a heavily overcast day and again I was getting slow shutter speeds at f/5.6. I’ve had great luck with the XA in crappy weather before, so I don’t know what happened here.
The Olympus XA is a never-miss camera for me, which heightens my disappointment in these images. The negatives look great, it’s just that my scanner isn’t getting the detail I know is there.
There are three 127 Days each year: July 12 (12/7 in European notation), December 7 (12/7), and today, January 27 (1/27). Last 127 Day I spooled a roll of Kodak Verichrome Pan, expired since 1981, into my Kodak Brownie Starmatic and took it for a walk along Main Street in Zionsville. It’s fitting to share the results today.
Sadly, every shot was badly underexposed. It’s possible that my Starmatic’s selenium meter is finally petering out. It would be understandable, as the camera is 60 years old. To protect the meter, I keep the camera in its case when I’m not using it. And the meter worked perfectly the last time I used the camera, just a couple years ago.
Perhaps this expired film degraded over time. Verichrome Pan is hardy, and I almost always have very good luck with it at box speed (ISO 125). That’s how I shot it this time.
The freezing temperature that day is the most likely culprit, however. It might have interfered with the meter’s mechanical linkage or with the shutter, leading to these underexposures. I kept the camera warm in my coat when I wasn’t using it, but that might not have been enough. I’ll have to try again on July’s 127 Day, when it should be plenty warm. I have a roll of long-expired Kodacolor-X in 127 waiting its turn. I’ll develop it as black and white, as the chemistry to develop that film as color has been out of production for ages.
I developed the film in LegacyPro L110, Dilution H, for 8:30 at 20° C. This is my usual Verichrome Pan recipe. In general I prefer Dilution B. But with Verichrome Pan that yields a development time of just 4:15, which gives no margin for timing error. This film curled tightly, giving me a devil of a time loading it onto the developing reel. The developed film curled badly, too. I had figured I’d scan the film by laying it directly on the scanner’s glass, but the curl made that impossible. I lay the film between the pages of a heavy book for a couple weeks, hoping that would flatten it out, but no dice.
So I ordered a 127 film holder from Negative Solutions. The fellow behind this little company makes film holders for a number of scanners and defunct film sizes. He 3D prints them on demand. My 127 holder is two pieces of plastic, one you lay the film into and another you slide into a channel in the first to hold the film flat. Then you lay the whole thing inside the 120 film holder that came with my Canon CanoScan 9000F Mark II. The film’s curl made it difficult to load into the holder, but I managed it. From there, scanning was as easy as scanning ever is.
At least I enjoyed using the Brownie Starmatic. I always do; it’s why it survived Operation Thin the Herd. It’s my only remaining 127 camera. Even though all 12 images were badly underexposed, I was able to tweak VueScan’s settings to scan a usable image from each negative. Here are all of them.
I want to shoot slide film in the autumn, to capture all the color. You’d think I’d also want to shoot slide film in the spring, which is equally colorful. But no. In my mind, slide film is for autumn.
This slide film was a gift from Marcus Peddle, who sent it all the way from Korea. He sent me four rolls; I shot two of them this time. Thanks Marcus! It’s Fujifilm Velvia 50 in 120, so I put it into my Yashica-12.
I shot mostly around the house and along Zionsville’s Main Street, although I did shoot a little in Indianapolis, which I’ll share in a later post.
Downtown Zionsville is such a rich photography environment. We won’t live here forever — Zionsville is nice and all, but I miss Indianapolis a lot. After we move, though, I will miss being able to quickly pop downtown for some photography.
I’ve shot the Yashica-12 a lot in the last year or so, and I’m getting much better at using the grid on the focusing screen to make my subject straight.
In “the village” (as we call Zionsville within its original town limits), people take holidays seriously. Many homes decorate extensively.
The Main Street shops place season-appropriate stuff on the sidewalk. For this photo I should have chosen a narrower aperture and a slower shutter speed to get more depth of field.
I got the focus right on this one, and I love the shadow play.
This florist could have done more to decorate the front of this shop, but the pastel color of the window frames and door often make me stop for a photograph.
Closer to home, the trees along the back entrance to my subdivision were just starting to change when I made this. As I write this, every tree is ablaze with red, yellow, and orange. But I wrote this on the day before Halloween. By the day this post publishes, most of these leaves will have fallen.
I mounted my 35-70mm f/3.3-4.5 Zoom Nikkor lens to the F3 for this outing. Despite its noticeable barrel distortion at the wide end, I really like this lens. It’s small and light, and its zoom range gives me good flexibility.
We met our granddaughter and her mom in downtown Zionsville, where there were gourds and pumpkins for sale. Here are three of Margaret’s kids, our “granddog” Obie, our granddaughter, and her mom.
We see our granddaughter most Sundays now, and it’s been lovely. When the weather’s nice enough we meet in town or in a park.
The used bookstore was open this day, running a clever promotion where they wrapped books in kraft paper, wrote what the book was about on the front, and sold them as book blind dates.
I finished the roll around the house. As the weather has grown chillier I’ve gone out less, but I’ve still wanted to make photographs. That means looking for new subjects, or new angles on old subjects, at home.
The 35-70 focuses from about 13 inches. I enjoy zooming this lens to 70mm and moving in close.
Our last gas grill gave up the ghost last season after just three years of service. That’s the way of $250 gas grills. I didn’t want to blow another $250 that way so I bought a little Weber charcoal grill instead. It’s more hassle to grill on charcoal but the flavor is better. Anyway, I’m pleased that I was able to capture this fire so well.
Early in my career I wrote instruction manuals for software. Users would frequently call tech support to ask questions that could answer for themselves would they only Read The F$#@ing Manual, or RTFM. Despite this, I almost always put film into a new-to-me old camera without RTFM. I get away with it most of the time. I did not when I shot this Olympus OM-4T.
The OM-4T, known as the OM-4Ti in some markets, was the last of the professional-grade cameras in Olympus’s wonderful OM series. Olympus introduced it in 1986 and manufactured it through 2002, making it among the last manual-focus 35mm SLRs produced. It’s a terrific camera — after you RTFM to learn how to use it.
It’s solidly made with titanium top and bottom plates, yet it manages to be light and easy to carry. Like all OM-series cameras, it’s small. It’s well featured, beginning with an electronically controlled cloth focal plane shutter with a top speed of 1/2000 sec. and a slowest speed of 1 sec. in manual mode and up to 2 minutes in aperture-priority mode. It meters through the lens in center-weighted average and three spot modes. The viewfinder includes dioptric correction for those of us with aging eyes. An innovative new electronic flash control system allowed flash sync from 1/60 to 1/2000 sec.
The OM-4T takes films of ISO 6 to 3200. Here’s where it’s important to RTFM. Like many SLRs, the ISO setting is around the rewind knob. It only looks like the ISO selector on so many other SLRs — it doesn’t work like them. You lift the collar on the outer knob and twist to select ISO, but unlike every other SLR I’ve ever used the exposure compensation setting moves too. After you select ISO — and this is the part where I wish I’d RTFM — you must then lower the collar and twist the exposure compensation setting to where you want it. So nonstandard. I didn’t notice that the exposure compensation was at -2 and proceeded to underexpose my film by two stops Then I loaded some ISO 200 color film and left the ISO set to 100 as I like to overexpose this film by a stop. But because the exposure compensation was still at -2, I underexposed it by one stop. I was ten frames into my third roll of film when I downloaded and read the manual and realized my error. Argh! Thank heavens for the good latitude of the films I shot.
To shoot, move the lever atop the camera to Auto for aperture-priority mode or Manual for manual exposure mode. An LCD display at the bottom of the viewfinder shows exposure information. In manual mode, you’ll see > | < and a row of dashes, along with your shutter speed. It works like a match-needle diaplay: for proper exposure, adjust shutter speed and aperture until the dashes line up with the |. In aperture-priority mode the LCD shows the range of shutter speeds and a row of dashes. Select aperture and press the shutter button down halfway to meter. The row of dashes moves to the shutter speed the OM-4T selects. If the shutter speed would need to be faster than 1/2000 sec, the display shows OVER and the camera beeps.
The star of the OM-4T show is its multi-spot exposure option. I’m not going to get into its full operation here, in no small part because this is a feature I’d hardly ever use. In short: You activate it with the SPOT button next to the shutter button. You can meter up to eight spots and the camera averages them. You can also spot meter for the highlights or for the shadows; the OM-4T then applies exposure compensation to bring out detail.
Two SR44/357 button cells power everything. Glory be, an old camera that takes batteries you can buy at any drug store! Without a battery, you can make a photo but only with a 1/60 sec. shutter.
If you like small 35mm SLRs, also check out my review of the original Olympus OM-1 here, of the OM-2n here, of the Nikon EM here, and of the Pentax ME here. If you’re an Olympus fan, see my reviews of the XA here, the XA2 here, the Stylus here, the Stylus Epic Zoom 80 here, and the mju Zoom 140 here. Or check out all of my camera reviews here.
The first roll I shot in the OM-4T was my last roll of original Agfa APX 100, expired since November of 1998 but stored frozen until my film freezer died last summer. Not only did I shoot this two stops under, but I may have underdeveloped the film. I used Rodinal 1+50, which the Massive Dev Chart said needed 13 minutes at 20° C. That’s what I did, but later I learned that Agfa recommended 17 minutes for this developer and temperature. Argh! But my scanner pulled good things out of a handful of frames.
I made these images as Indiana was reopening from shutdown during the COVID-19 pandemic. Working from home during these times has let me ride my bike more, and I made most of these photos from the bike with the OM-4T slung over my shoulder and across my torso. The body is so light and small it was an easy companion on the bike.
The viewfinder is big and bright enough for me, even though some other reviewers compare it unfavorably to the OM-1 and OM-2 viewfinders. I found having to look down at the LCD panel to be less comfortable than the needle display on the left side of the OM-2n viewfinder. Also, the LCD was a little laggy. None of this is enough for me to pan the camera. I just liked the OM-2n’s needle better.
The camera has no on-off switch, by the way. Pressing the shutter button halfway activates the camera; the LCD wakes up and gives a reading. The camera turns itself off after a while.
My OM-4T came with a standard microprism/split-image focusing screen. As a system camera, you can swap in any number of other focusing screens if you have them. I prefer split image focusing so I was good go to.
I live in a suburban vinyl village, but within five minutes on my bike I can be among the farm fields. This old farmhouse probably dates to as early as 1840.
I next shot two rolls of Fujicolor 200. I intended to shoot them at EI 100 but because I’d buggered up the exposure compensation setting I actually shot the first roll and ten frames of the second roll at EI 400. It’s a testament to this consumer-grade film that these images all turned out fine. Fulltone Photo did the developing and scanning.
I made most of these images on a beautiful morning I took off from work. I got on my bike and rode around on country roads four hours. I’ll write a separate post about the red bridge — it’s restored after being mangled by a too-large tractor.
Even though I’m a city boy through and through, I deeply enjoy riding out in the country. It’s peaceful, there’s almost no traffic to contend with, and you get to see lots of great old farmhouses.
I left the 40mm f/2 lens on for this ride. It focuses from 10 inches, making it almost a macro lens.
After I RTFMed and set ISO properly on this OM-4T, I mounted a 50mm f/1.8 Zuiko Auto-S lens and shot the rest of the roll on various bike rides over the next week or so. I can’t imagine riding with many of my other 35mm SLRs as they are so much larger and heavier.
Except for that laggy viewfinder LCD, the OM-4T handled beautifully. The controls all felt well-made and smooth under use.
Rewinding film on the OM-4T is a little different from on the OM-1 and OM-2. Press in the R button atop the camera next to the shutter button. Then pull up the rewind crank and rewind away.
I had a fine time with the Olympus OM-4T. Because I never fully took to the LCD display, it never disappeared in my hands like the OM-2n did. But this camera passes my litmus test: if it were the only one I could own, I’d shrug and get on with making beautiful images with it for the rest of my life.
If you like old film cameras, check out all of my reviews here! To get Down the Road in your inbox or feed reader, subscribe here.
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