I had trouble getting this 28-80 zoom to deliver consistently good results on my Pentax K10D DSLR. That lens was from the film era and would have been right at home on one of Pentax’s autofocus film SLR like the MZ-30. For whatever reason, it wasn’t a good match for this DSLR. So I bought the lens that would have come with a K10D in a kit, the 18-55mm f/3.5-5.6 SMC Pentax-DA AL. It’s a match made in heaven.
I’ve sold the K10D and that 18-55mm lens. Now that I own the Nikon Df, I won’t use the K10D anymore. I’m pleased that it goes to someone who will put it to excellent use.
I still have the 28-80 lens, however, because someday I’ll try Pentax’s autofocus SLRs.
In 1994, when the Nikon F50 was new, we didn’t know whether digital photography would ever be good enough to replace film. Maybe companies like Nikon could see the day coming, but they had cameras to sell in the meantime. Nikon in particular kept evolving its lines of 35mm SLRs, including those at the entry level like this F50, which was called the N50 in North America.
Nikon’s SLRs moved slowly toward what we now consider the standard idiom, with an on/off switch around the shutter button, a mode dial, and an LCD display of settings. The F50 added the LCD display, but not the rest. A series of buttons around the LCD display let you choose most of the camera’s settings — not as simple as a mode dial, but not hard to figure out.
First, set the Simple/Advanced switch to Advanced. Then press the leftmost button to enter selection mode. The LCD panel lights up with P S A M; press the button above the mode you want. In P mode, press a button for the sub-mode you want; there are a bunch of them including a macro mode and a sports mode. I just used Auto, which is the first option on the left. For the S, A, and M modes, select aperture, shutter speed, or both using the buttons. If you need a little help figuring it out, here’s a manual at the wonderful Butkus site. Or set the Simple/Advanced switch to Simple and just use the F50 like a big point and shoot.
My F50 is technically an F50D because it has the date back. Not that I’m ever going to use it. The camera is a good size, noticeably smaller than the semi-pro N90s which was made around the same time. I recently got to shoot a Minolta Maxxum HTsi, which is smaller than this F50. The Minolta handled easily enough, but the F50’s slightly larger size made it even easier to handle.
The F50 is surprisingly heavy, though! Nikon’s next two entry-level 35mm SLRs, the N60 and N65, weigh next to nothing in comparison. The F50 isn’t as heavy as my all-metal Nikon F2, but it’s got noticeable heft.
The F50 offers a self timer, but it doesn’t offer mirror lockup, depth-of-field preview, or cable release. It reads the DX coding on your film to set ISO from 25 to 5000, but you can override ISO manually down to 6 and up to 6400. It uses Nikon’s famous matrix metering except in manual exposure mode, when it switches to center-weighted metering. Its shutter operates from 1/2000 to 30 sec. You can use most AF Nikkor lenses with it, and many AI Nikkor lenses in manual exposure mode. The F50 automatically loads, winds, and rewinds your film. A typical Nikon-style LCD inside the viewfinder shows exposure settings. A 2CR5 battery powers everything.
Speaking of winding, mine is a little on the loud side, and sounds weak and wobbly. There’s an odd, slight disconnect between pressing the shutter button and the shutter firing. It doesn’t inspire confidence, but you do get used to it. In contrast, when you press the button on the N60 or N65, it fires immediately and the winder is crisp and quiet.
I mounted my 50mm f/1.8 AF Nikkor lens and loaded a roll of Ilford HP5 Plus, which I developed it in Adox HR-DEV 1+30. This was my first go with this film/developer combination. I wasn’t wowed. The scans needed heavy post-processing and some of them could not be made to look good. I later learned that this developer, once opened, should be used within six months — and this bottle had been open at least that long. Perhaps that contributed to the meh results. I let the rest of the bottle go.
It was far below freezing outside, so I shot this roll around the house. This Sears box camera is missing the red plastic bit over the exposure-counter window around back. I need to repair that before I can shoot and review it. But it made a fine subject for my F50. I shot a handful of other cameras with it, but they all suffered from shake as I shot them handheld. In Program mode, the F50 chose apertures of f/3.3 and f/4.5 with shutter speeds of 1/15, 1/20, and 1/30 sec. I normally have a very steady hand and can get away with shutter speeds down to 1/15, but not on this roll.
I was at a bit of a loss for subjects, so I reached for anything that I thought would work, like this orange. The tablecloth on the dining table had an interesting texture so that’s where I placed the orange.
This is where I write this blog and process my photographs. Thanks to the pandemic, it’s also where I work. I spend a lot of time in that chair staring at that screen. As you can see, I have a lot of wires running about, which I don’t enjoy. Someday I’ll figure out a good wire management solution.
I did make a few photos outside, but only by sticking my head and the camera out the door. One day during the cold snap we got about a foot of snow. My wife grabbed our youngest son (who’s 20 and hardly a child!) and a couple plastic snowboards and sledded down the back-yard hill. A zoom lens would have let me move in closer without having to step outside! The F50 did a reasonable job of setting exposure in the snow.
I wanted to see how this Nikon F50 handled with the kinds of subjects I normally shoot. So I loaded some Fujifilm Superia X-tra 400 and mounted my 28-80mm f/3.3-4.5G AF Nikkor lens. I first used it to chase our granddaughter around to make a couple candid photos of her. She’s hard to capture perfectly still!
I love this 28-80mm zoom and turn to it often. It handles easily, has good sharpness, and resolves subjects well with little distortion, except at 28mm. I generally zoom it out no more than 35mm.
I finished the roll on a couple walks outside in near-freezing weather, the F50 in my hand unprotected in the cold. It just kept on working.
The snow from the day I photographed my wife on her sled was beginning to melt. It made for a soggy walk through downtown Zionsville.
I was very happy with these images. They required next to no tweaking in Photoshop — little more than applying the “Auto Tone” command to brighten everything up.
I really enjoyed using the Nikon F50. It’s a terrific auto-everything 35mm SLR. This one was a gift from a reader to the Jim Grey Home for Wayward Cameras, but a quick look at eBay shows these selling for between $10 and $30, often with a zoom lens attached. The main concern with electronic auto-everything cameras is how robust they are, and whether they can be repaired when they fail. I’ve personally had much better experience with Nikon autoexposure and autofocus cameras working for the long haul than the other brands I’ve tried, namely Canon and Minolta. It’s why I recommend cameras like this F50 to people curious about film photography.
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Wet winter street Minolta Maxxum HTsi 35-80mm f/4-5.6 Minolta Maxxum Zoom Ilford HP5 Plus LegacyPro L110, Dilution B 2021
I made this photo just a few weeks ago, and now it’s essentially spring. This same scene is dry, with grass greening up, daffodils and crocus in bloom, and buds appearing on the trees.
We have a saying in Indiana. Maybe you have a similar one where you are. “If you don’t like the weather here, wait five minutes.”
It didn’t take long after Minolta introduced the first in-body autofocus and autoexposure 35mm SLR, the Maxxum 7000, for these features to take over the entire SLR market. It opened the SLR market to even casual shooters who wouldn’t know an f stop from a shortstop. Anyone could get high-quality images with point-and-shoot ease. Almost from the beginning, Minolta offered auto-everything SLRs aimed at the entry-level photographer. In 1998, the Minolta Maxxum HTsi was that entry-level camera.
The Maxxum HTsi cost far more than a point-and-shoot, however. It listed for $770 (including a 28-80mm f/3.5-5.6 zoom lens), which is about $1200 today. Nobody paid that; street prices were far lower. But you got a lot of camera for that money. It has a three-point autofocus system and 14-segment honeycomb-pattern metering. Its shutter operates from 1/4000 to 30 seconds. It reads the film’s DX coding to set film speed from ISO 25 to 5,000, or you can set film speed manually from ISO 6 to 6,400. It offers the usual modes: program, aperture-priority, shutter-priority, and manual. A built-in flash pops up when the camera doesn’t detect enough light. You can also slide a separate Minolta flash unit into the proprietary hot shoe. Unfortunately, two expensive CR-2 batteries power everything.
The HTsi offers the usual modes: programmed, aperture priority, shutter priority, and manual exposure. To access them, move the Mode dial to PASM. Press the P button above the LCD to return the camera to program mode at any time. To access the other modes, press the FUNC button and turn the wheel below the shutter button to cycle through A, S, and M. The HTsi also offers portrait, landscape, close-up, sports, and night portrait modes. To access them, press the P button and then press the button next to the LCD with a head on it, repeatedly, until an arrow appears beneath the mode you want.
An unusual feature of the HTsi is its customizable functions, like allowing the shutter to fire even when autofocus hasn’t locked on a subject, and leaving the film tip out upon rewind. The manual describes the rest of them. Only one was useful to me. By default, the HTsi fires the flash anytime it thinks it needs to. I hate that! But you can turn it off. The functions and their settings all have numbers; this one is Function 5, Setting 2. Turn the mode dial to CUST. Then turn the wheel under the shutter button until the LCD reads CUST 5. Then press the FUNC button and turn the wheel until 2 appears below CUST 5. Return the mode dial to PASM to take pictures.
By the way, this camera was called the Maxxum HTsi only in North America. As best I can tell, in Europe it’s called the Dynax 505si. I don’t think Japan got a version of this camera.
I loaded a roll of Fujifilm Superia X-tra 400 into the HTsi. The pictured 35-80mm f/4-5.6 Maxxum Zoom lens came with this body, so I left it on. I took it on a few walks around my neighborhood, one of which lasted a half-hour on a clear 25-degree morning. I held the camera in my hand in the cold the whole way. To its credit, it never complained or malfunctioned. It made every photograph I asked of it.
I shot the whole roll in full program mode. I figure that a camera like this is meant to be a giant point and shoot. As one, it’s competent and handles easily. It’s nothing to carry it just by holding its grip. That’s very nice on a long photo walk.
The HTsi focuses fast and I could never make it hunt. I was testing an older autofocus SLR from another manufacturer at about the same time and it hunted like mad unless the subject was crushingly obvious. That SLR was a more robust machine with better specifications, aimed at the semi-pro market. I’d rather shoot this HTsi because it just works.
I’m sure that other camera is built to outlast the HTsi. But the amateur who would have bought a camera like the HTsi was unlikely to use it nearly as often. It was likely to last a long time in that photographer’s hands.
To finish this roll I popped up the flash and photographed our home office, which happens to be in our living room. It’s odd to walk into this from the front door, but it works for us. The flash lit evenly.
I had a good enough time with the HTsi that I loaded a roll of Ilford HP5 Plus and kept shooting on a walk through downtown Zionsville. I developed the film in LegacyPro L110, Dilution B, and scanned it on my Minolta ScanDual II scanner.
Who knows how my HTsi came to have a 35-80mm f/4-5.6 Maxxum AF Zoom lens rather than the kit 28-80mm lens. This 35-80mm lens offered good sharpness corner to corner but did suffer from a little barrel distortion at the wide end. That’s typical of the genre, and isn’t surprising.
It’s also not surprising that this lens always flared in the sun, too. These are the kinds of challenges you expect from a zoom lens like this one and I wouldn’t be surprised if the 28-80mm kit lens performed similarly. Lenses like these aren’t stellar performers, but they are more than fine for an amateur photographer documenting his family’s activities.
The lens doesn’t offer a macro mode but it did all right when you moved in as close as it could focus.
I enjoyed using this camera, plain and simple. It just worked. What more can you want?
A reader donated this Minolta Maxxum HTsi to my collection. I wouldn’t have bought one on my own. It opened my eyes, as this is a terrific little SLR for easy shooting. Here’s the crazy thing about cameras like the HTsi: you can buy them for next to nothing. I just did a quick check of eBay and find dozens of these that sold for less than $50, and many for less than $20, often with some sort of lens still attached. Cameras like these are the great value in film photography today.
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Big old house Canon PowerShot S95 2021
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.