Isolation Photo Project, Day 66

I exposed a roll of FPP RetroChrome 400 using a Pentax Spotmatic II with SMC Takumar 55mm f/2 lens with unexpected results.

NOTE: I'll begin this experience report with a brief disclaimer. It's been less than two years since I returned to shooting 35mm film after switching to digital photography over 20 years ago. I've inundated myself with as much 35mm film education as possible between web articles and advice from experienced film shooters. But, with my former experience way in the past and limited recent experience, this review is coming from a relative novice point of view.

A few weeks ago, I shot 35 frames of Film Photography Project RetroChrome 400 35mm Colour Reversal Film with my Asahi Optical Co. Pentax Spotmatic II and SMC Takumar 55mm f/2 lens. I was anxious to see how the film performed and impatiently captured all the frames on a single day.

I focused my efforts on the Delaware & Raritan Canal State Park Trail near the Kingston Lock and Kingston Grist Mill. I have photographed this area many times. I wanted someplace familiar to test my 35mm film photography skills.

The description from the Darkroom website:

RetroChrome is government surplus High Speed Eastman Ektachrome color positive film. Made for industrial and governmental applications, Kodak adds “it is color reversal camera film that is intended for photography under daylight illumination. Among its many applications are news photography, sporting events and industrial photography.” The film is cold-stored 2004 expired. The film performs excellent at it’s intended box speed of 400 iso which leads us to believe that this film has been stored in the “deep freeze” for the past decade. Please read all about RetroChrome history in our RetroChrome blog!

I received an email from the Darkroom and mistakenly thought I had developed a blank roll. But today, I received notification from Darkroom that the FPP RetroChrome 400 Colour Slide Film cartridge was successfully developed using the E-6 process and the negatives were scanned and ready for download. I had chosen the Super Scans, which produces JPEG images at 4492×6774 pixels. Darkroom scanned the negatives on a NORITSU KOKI EZ Controller.

I added EXIF data to the images using Exif Editor.

From the samples on the Film Photography Project website and Flickr, I had some idea of how the scanned negatives would look. However, I knew I struggled to get proper exposure to the Spotmatic II. I was challenged to find the appropriate shutter speed and aperture that centred the metering needle. This is one reason I purchased a Pentax ES II.

Most of the frames were captured on the Delaware & Raritan Canal State Park near the Kingston Mill House, which I have frequently photographed. I uploaded the ten best images as is.

I think the grain and colour cast is what one can expect from FPP RetroChrome 400. Many of these frames are slightly overexposed. Tweaking them in Adobe Lightroom improved contrast, but the grain is noticeable. I’m not too fond of the quality of the grain, and I could have picked better subject matter. I love the look of the photographs of the Kingston Mill House and Lochtender’s house, but I think the images of the greenery are boring. I believe that scenes of old diners and 1970’s cars parked in front of downtown scenes would make good subject matter.

Would I shoot another roll of FPP RetroChrome 400? Yes, but I will either use my Pentax ES II or Pentax P3 so that I can use automatic metering and aperture priority.

Have you used PP RetroChrome 400 Colour Slide Film? What do you think of the grain and colours produced by this film?

Kingston Lock Tender House
8 May 2020 * Asahi Pentax Spotmatic II * SMC Takumar 55mm f/2
Kingston Lock Tender House
8 May 2020 * Asahi Pentax Spotmatic II * SMC Takumar 55mm f/2
Kingston Grist Mill House
8 May 2020 * Asahi Pentax Spotmatic II * SMC Takumar 55mm f/2
Kingston Grist Mill House
8 May 2020 * Asahi Pentax Spotmatic II * SMC Takumar 55mm f/2
Kingston Grist Mill House
8 May 2020 * Asahi Pentax Spotmatic II * SMC Takumar 55mm f/2
Kingston Lock
8 May 2020 * Asahi Pentax Spotmatic II * SMC Takumar 55mm f/2
Kingston Lock
8 May 2020 * Asahi Pentax Spotmatic II * SMC Takumar 55mm f/2

Submitted as part of the 100DaysToOffload project.

Ilford HP5 Plus 400 | Pentax Spotmatic II | SMC Takumar 55mm F:2

This roll of film is the second roll of Ilford HP5 Plus 400 that I developed with The Darkroom. This roll was shot on my Asahi Optical Co. Pentax Spotmatic II and Asahi Optical Co. SMC Takumar 55mm f/2 lens.

NOTE: I'll begin this experience report with a brief disclaimer. It's been less than two years since I returned to shooting 35mm film after switching to digital photography over 20 years ago. I've inundated myself with as much film education as possible between web articles and advice from experienced film shooters. But, with my former experience way in past and limited recent experience, this review is coming from a relatively novice point of view.

UPDATE 13 April 2020: Hamish Gill of 35mmc suggested I may have a faulty shutter. In March, I had the camera CLA'd (Clean, Lube and Adjust) by Eric Hendrickson. Soon, I'll shoot another roll of film to see the difference.

This film is the second roll of Ilford HP5 Plus 400 that I developed and scanned at The Darkroom Lab. This Ilford HP5 Plus 400 roll was shot on my Asahi Optical Co. Pentax Spotmatic II and Asahi Optical Co. SMC Takumar 55mm f/2 lens.

Using the Asahi Optical Co. Pentax Spotmatic II camera was more challenging than using the Pentax P3. The Pentax P3 has a shutter priority mode, and my unit has a working light meter. When I shot using the Pentax P3 camera, I set the shutter speed to 1/250s, and the camera adjusted the aperture as needed. However, while the Asahi Optical Co. Pentax Spotmatic II has a working light meter, the plastic to move the lever broke, and the rest of the camera settings must be set manually. I used the Sunny 16 technique to estimate the shutter speed on the Spotmatic II to expose each Ilford HP5 Plus 400 frame properly. The Sunny 16 technique is something I only learned about relatively recently. I practised a little at home, but this was my first time using it in the field.

I took the Spotmatic II and a cartridge of Ilford HP5 Plus 400 to the client’s office building at Old Slip, about a block from Wall Street in Manhattan, and exposed some frames during my lunch hour. I walked around Front Street, Gouverneur Lane, and South Street. The rain was light which made for a challenging walk. I was concerned about the camera getting wet, so I walked across South Street and under FDR Drive along the East River Esplanade. It's an area I explored with my Fujifilm X-T2 last year using an Ilford HP5 Plus 400 film recipe.

Photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organisation of forms which give that event its proper expression.Henri Cartier-Bresson

I expected all my frames to be severely under or overexposed. The shutter speed of the Asahi Optical Co. Pentax Spotmatic II is limited to 1/1000s, but fortunately, it was a rainy, overcast (and cold) day in Manhattan. The images are slightly over or underexposed, but I'm pleased with the results. I feel proud I had the skills to use this old camera, but I want a small, handheld light meter to make metering easier. Given the shutter speed limitation, I have purchased a roll of ADOX Scala 100 for use in brighter conditions.

The images were developed and scanned by The Darkroom.

South Street, Manhattan, New York City
11 February, 2020 · Gouverneur Lane, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
South Street, Manhattan, New York City
11 February, 2020 · South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
 South Street, Manhattan, New York City
11 February 2020 · East River Esplanade, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
 South Street, Manhattan, New York City
11 February 2020 · East River Esplanade, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
 South Street, Manhattan, New York City
11 February 2020 · East River Esplanade, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
South Street, Manhattan, New York City
11 February, 2020 · Wall Street Ferry and Pier 11. South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
 South Street, Manhattan, New York City
11 February 2020 · CitiBike and Slip B at Pier 11, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
 South Street, Manhattan, New York City
11 February 2020 · Bumper, East River Esplanade, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
South Street, Manhattan, New York City
11 February, 2020 · NY Waterway Ferry, East River, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
 South Street, Manhattan, New York City
11 February 2020 · East River Esplanade, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
South Street, Manhattan, New York City
11 February, 2020 · Looking up at FDR Drive. East River Esplanade, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
South Street, Manhattan, New York City
11 February, 2020 · Have a wet seat. East River Esplanade, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
South Street, Manhattan, New York City
11 February, 2020 · Strutting pigeon. East River Esplanade, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
South Street, Manhattan, New York City
11 February, 2020 · Pigeon in flight. East River Esplanade, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
 South Street, Manhattan, New York City
11 February 2020 · East River Esplanade, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
South Street, Manhattan, New York City
11 February, 2020 · Seagulls but not the seashore. East River Esplanade, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2

Soligor Wide-Auto 35mm F2.8 M42

I have often read that the 35mm (full-frame equivalent) is the perfect all-around focal length. On a 35mm camera, this focal length is wide enough for a scene to fill a frame, but long enough to isolate an individual subject. I had often also read that a 50mm prime lens, the ‘nifty fifty,’ is the most useful and complete all-round lens. Before the advent of zooms, most film cameras were fitted with 50mm lenses. It has been written that Henri Cartier-Bresson, whom many photographers hold in high esteem, used a 50mm lens for most of his photography.

A 50mm lens is a great addition to any camera bag because it's a versatile piece of glass. The point is that it is a great walk around or travel lens because it can help you photograph almost anything from your dog to mountains to small objects and everything in between.

Many photographers erroneously claim that the 50mm lens on a 35mm full-frame camera has an angle of view that closely matches the field of view of the human eye1.

I shoot mostly digital (APS-C), but I also own an Asahi Optical Co. Pentax Spotmatic II 35mm film camera. I went into the only local camera shop in Princeton to pick up a battery for the Spotmatic II and ended up buying a Soligor 35mm f/2.8 Wide-Auto M42 lens for $50.

I now have a good set of manual primes - 28mm 35mm and 55mm for my Asahi Optical Co. Pentax Spotmatic II which I can also use on my Fujifilm X-T2 at ~42 mm FF FOV, ~53mm FF FOV and ~84mm FF FOV.

FujiFilm X-T2 | Soligor Wide-Auto 35mm f/2.8 M42 | f/5.6 | ISO 400

As I have written a few times while writing about other old lenses, "it's all-metal, substantial, great construction, yadda yadda". Just about every old lens I've come across would get high marks for that.

This lens has an A-M switch, a smooth and damped focus with a beautiful range of only over 180 degrees, reasonably compact build and nicely knurled focus and aperture rings. However, I noticed a tendency to move the A-M ring when changing aperture and mounting/unmounting.

On a 35mm film camera, I would use this lens primarily for street photography work but it can be put to that purpose on an APS-C sensor camera as well. I used it at around f/5.6 to f/11, which helps with sharpness.

But it's the pictures that matter. They were all shot at f/5.6 on my Fujifilm X-T2 with a Fotodiox M42-FX adapter.

I do think the images are a bit soft but I am unsure if it’s the lens or just my poor manual focusing technique.

Name: Soligor Wide-Auto 1:28 f=35mm
Mount: M42
Tested On: Fujifilm X-T2 with FotodioX M42-FX adapter
Zoom/Prime: Prime
Focal Length: 35mm
Maximum Aperture: f/2.8
Minimum Aperture: f/16
Diaphragm Blades: 8
Price Paid: US$50
Product Ratings (1=miserable, 5=excellent):
Construction Quality: 4
Image Quality: 3
Overall Value For Price: 4
Recommended: Maybe

FujiFilm X-T2 | Soligor Wide-Auto 35mm f/2.8 M42 | f/5.6 | ISO 400
FujiFilm X-T2 | Soligor Wide-Auto 35mm f/2.8 M42 | f/5.6 | ISO 400
FujiFilm X-T2 | Soligor Wide-Auto 35mm f/2.8 M42 | f/5.6 | ISO 400
FujiFilm X-T2 | Soligor Wide-Auto 35mm f/2.8 M42 | f/5.6 | ISO 400
FujiFilm X-T2 | Soligor Wide-Auto 35mm f/2.8 M42 | f/5.6 | ISO 400
FujiFilm X-T2 | Soligor Wide-Auto 35mm f/2.8 M42 | f/5.6 | ISO 400
FujiFilm X-T2 | Soligor Wide-Auto 35mm f/2.8 M42 | f/5.6 | ISO 400
FujiFilm X-T2 | Soligor Wide-Auto 35mm f/2.8 M42 | f/5.6 | ISO 400