When Film is too Old (Seattle 04)

Sample film strip, Epson Perfection 3200 Photo scanner

Oh, oh, some old film is just that, film that should have been discarded long ago. 

I bought an expired roll of Kodak High Definition film (Max 400??) at Photoland, the laboratory at The Evergreen State College in Olympia. It had been frozen but was much too old. I wanted to test my new/old Pentax MG. I had never heard of High Definition, and online information was scarce. It may have been discontinued around 2005. Kodak had a bad habit of renaming their various emulsions, often changing names in different markets. 

Most of the roll was grossly underexposed, and holding the strip up to the light, I could barely see any image data. The Epson 3200 flat bed scanner was remarkable at its ability to extract something for me to review. Some of the frames from Seattle looked marginally promising. I am amazed how well my Nikon Coolscan 5000 can extract data from a lousy negative. For the examples below, I scanned the frames with the Coolscan's automatic exposure function. Then I opened some of the frames in Photoshop and manually adjusted the contrast.   

Arriving at King Street Station, Seattle

King Street Station

Smith Tower from Jackson Street

Maybe I'll Walk-In (or maybe not)

Pine Street scooters

I am a Rockfish. Make some delicious fish 'n chips from me. Note the enormous eyes.

Rockfish are rather ugly. They live on rocky bottoms in cold water. There are at least 30 species in the Pacific Northwest. But they are delicious eating. Dingey's at the Olympia Farmers Market offers rockfish fish 'n chips. 

Let's drop in to Party in Reality. Well, maybe no.

I took these pictures with a Pentax MG camera, which has aperture priority autoexposure (meaning, you select an aperture on the lens, and the camera sets the correct shutter speed based on the through-the-lens light meter). The MG meters for as long as 14 or 15 seconds, which would be useful for tripod-mounted scenes. 

But because the film was so flawed, I do not know if the exposures were correct. The lens was a 50mm ƒ/2 Pentax-A with an unusual 5-element air-spaced optical design. 

Expired color film is a gamble. It just does not age well. Do not bother buying it. But black and white films, especially slow speeds, seem to last for years, especially if stored cool. Long-term readers may remember my amazing results with 60-year-old Versapan film packs. 

Danger: GAS and a Review of the Pentax Spotmatic F

Good things come in a box

The Danger of GAS

Yes, I know, I have no discipline. I have enough cameras to last the rest of my days and swore that I would not buy any more hardware except for specific accessory items, like filters. But Jim Grey, my friend from Indiana, extolled the virtues of the Pentax Spotmatic F body. This was the last version of the famous 35mm camera line that accepted 42mm thread-mount lenses. The F featured open-aperture metering, meaning the viewfinder did not darken as you stopped down the lens. My older regular Spotmatic uses stop-down metering. This seldom posed any inconvenience, but the option of open aperture metering sounded tempting. Well, you know the story, GAS (Gear Acquisition Syndrome, not flatulence) overcame me. Soon, a handsome Spotmatic F along with the magnificent 50mm ƒ/1.4 SMC Takumar lens appeared in a box. Total cost was $49 including shipping. You can buy this level of craftsmanship and excellence for $49 in 2023?

After an initial test, I sent the camera to Eric Hendrickson, one of the best-known Pentax repair people in the USA. It and the 50mm lens came back clean and ready to go. He emphasized that the light meter will work correctly with 625A (alkaline) batteries. Internet "experts" churn back and forth about which batteries will and will not work, but I trust Mr. Hendrickson. The original specification was for 625 mercury cells, but these have not been available for at least 25 years. The 625S (silver) cells are also now gone. The 625A batteries do not last long in this camera, so possibly there is a minor current drain. But the cells are inexpensive, and I remove them when I am not using the camera. (General camera rule: ALWAYS remove batteries when you will not use a camera for weeks or longer.)

Spotmatic Cameras

Mike Johnston wrote about the Spotmatic in The Online Photographer in 2017 and explained why the Pentax 50mm ƒ/1.4 lens was one of the finest 50s in the film era. The table below lists the various Spotmatic models.

Asahi Pentax Screw-Mount Cameras 1
Model 2	Date	Features
Original	1957	Modern appearance, right side wind lever, instant return mirror. ≈ $199 with 55 mm f/2.2.
S	1957	Contemporary geometric sequence of shutter speeds. 9 lenses available.
K	1958	Semi-automatic diaphragm
Asahi S3 (identical to Honeywell H3)	1960	Fully automatic diaphragm.  $199 with 55 f/1.8 lens.
Honeywell H1	1961	≈ $150;  1/500 top speed.  World's first clip-on CdS meter available ($32).
Asahi S3v (Honeywell H3v)	1963 - 1969	Added self-timer and automatic frame counter.
Asahi S1a  (H1a)	1963 - 1969	Added auto frame counter.  14 lenses available.
Spotmatic	1964 - 1971	Through-the-lens CdS meter.  $299 with 50 f/1.4.  Very popular!  Most chrome, some black paint.  Motorized model made in 1970 (uncommon).  Rare 250-exposure model.
SL	1969	Same as Spotmatic but without CdS meter.
Spotmatic 500	1971	Lower cost, 1/500 top speed, supplied with 55 f/2.0 lens.
Spotmatic II	1971	Added accessory shoe; sold with multi-coated lenses with extra indexing levers.
Spotmatic IIa	1972	Sensor for automatic Honeywell flash.
ES	1972	First Pentax auto exposure camera with electronically-controlled shutter.
Spotmatic F	1974	Finest manual Spotmatic; open-aperture metering, $375 with 55mm f/1.8.
SP 1000	1974	No self-timer
ESII	1974?	Improved reliability over ES. End of the era for Pentax screw-mount bodies.
Notes: 1.  Sources: “A History of Pentax” articles by W. L. Fadner in Shutterbug (1988) 2.  U.S. cameras had the Honeywell name and logo on the prism.  International models were labeled with the Asahi name and logo.

M42 thread mount

M42 refers to the thread mount of 42×1 mm used to attach the lens to the camera body. This was a common size in the 1950s through the 1970s. European, Russian, and Japanese companies made hundreds of M42 lenses in various focal lengths. Many people consider the Asahi Optical Company's examples to be among the best optically and mechanically in the 1960s and 1970s. It is common to buy an old Takumar lens that will still operate perfectly, while a drastically more expensive Leica lens of similar age will often have haze or film on the inner elements and need professional cleaning and re-lubrication. Takumar lenses have a following among serious photographers today because they can be mounted on most mirrorless digital cameras. The M42 mount lost popularity in the 1970s because it was slow to exchange lenses, while companies like Nikon, Minolta, and Canon used faster bayonet mounts on their cameras. 

Simplicity and meticulous craftsmanship

Utter simplicity: rewind knob, flash shoe, shutter speed dial, shutter release, and wind lever. No baffling 400-page instruction manual needed.

Set the film speed in the window within the shutter speed dial. Note it is still shown as ASA.

SMC (Super Multi Coated) 50mm ƒ/1.4 lens, mid-1970s.

Examples with Kodak Plus-X Film

Jim Grey sent me two rolls of Kodak Plus-X film. He bought a brick and said the first two rolls performed correctly. I used Plus-X in the 1970s but rarely since then. Plus-X was a traditional cubic-grain film, not one of the more modern T-grain emulsions, like T-Max 100. I will write more about Plus-X in a later article. Here are some examples from Vicksburg, Mississippi, during March of 2023. On some of my walks, I even wore the camera in its handy leather camera case (also known as a never-ready case). 

Waiting for a ride, 2620 Washington Street (50mm ƒ/1.4 SMC Takumar lens)

Monroe Street view south (135mm ƒ/3.5 SMC Takumar, ƒ/5.6)

Minor trouble at the corner of Marshal and Harris Streets (35mm ƒ/3.5 Super-Takumar lens)

I really like this 35mm ƒ/3.5 Super-Takumar lens. This is one of the older versions that must be stopped down for the light meter measurement. The Spotmatic F is supposed to be capable of both open-aperture as well as stop-down metering. But mine gives the wrong exposure for the latter mode. I sent the body back to Mr. Hendrickson to check, but it still does not meter quite right. That is a minor inconvenience because I usually carry a hand-held meter. The newer Super-Multi-Coated and SMC Takumars all have the tab for open aperture metering on the F and ESII bodies. 

Garage on Polk Street in unoccupied but not abandoned house (50mm ƒ/1.4)

Cottage at 733 Johnson Street. It has been razed since I took this picture (50mm ƒ/1.4).

Silos, Hwy. 80, Delta, Louisiana (135mm ƒ/3.5 SMC Takumar, polarizing filter)

The meter in the Spotmatic F measures correctly with a polarizing filter mounted on the lens. This camera works perfectly well with a linear polarizer. Many novice photographers insist that they need a CPL or circular polarizer (after all, they saw it on YouTube). No, usually they do not. A CPL is required for cameras that use a beam-splitter for auto-focus function.

Examples with Fuji Acros 100 Film

House on Bethany Street, Shreveport, Louisiana (24mm ƒ/3.5 SMC Takumar lens, Fuji Acros film).

The Spotmatic F meter works correctly with a wide lens, in this case, 24mm. But this was not a severe test because the light was soft and overcast that day. Spotmatic meters are have a broad coverage area, so you need to point the camera slightly downward to avoid having the bright sky fool the meter. 

The Little Shanty art store, Line Avenue, Shreveport, Louisiana (28mm ƒ/3.5 SMC Takumar lens)

The road west in the rain, Tahoka, Texas (55mm ƒ/1.8 SMC Takumar lens)

Jefferson Street view north, Olympia, Washington (55mm ƒ/1.8 SMC Takumar)

Squaxin Park, Olympia, Washington (28mm ƒ/3.5 SMC Takumar)

Summary

I am very pleased with my Spotmatic F. The open aperture metering is certainly convenient, and the measurements closely match reflected light readings from my Gossen Luna Pro digital hand-held light meter. The camera feels good and fits my hands perfectly. It is compact and only slightly more bulky than a Leica M camera. It demonstrates meticulous 1970s craftsmanship and precision, the finest of Japanese production. What is not to like?

And I like the gritty feel of Plus-X film. It is grainy, but that is suitable for this type of subject matter. Fuji Acros 100 is finer grain. 

Appendix

Here is my wife's 1971 Spotmatic camera with its superb 55mm ƒ/1.8 Super-Takumar lens. As you can see, the camera looks very similar to the 1974 or 1975 Spotmatic F. This camera has been to USA, Europe, Iceland, the Middle East, and the Nile River and has always performed flawlessly. This body feels smoother when you wind film or release the shutter then my newer Spotmatic F. Possibly the gears were made of different metals or some internal details were different. 

This 55mm lens is single-coated and has at least one element with thorium salts. The lens had yellowed over the years, but treating it with a small LED table lamp from Ikea cleared the yellow tone. Many manufacturers added thorium salts to their glass mixtures in the 1940s through the 1970s. No studies have ever demonstrated any health effects from the minor amount of radiation. I think this particular 55 is higher resolution than my later SMC 55. 

Levee Street Railroad Yard, Vicksburg, Mississippi

The Kansas City Southern rail yard on Levee Street usually has interesting patterns, shapes, and textures to photograph. Long-term readers know that I have photographed here many times before, but I usually find new material when I explore. Nowadays, it is a rare treat to walk next to or within a rail yard that is not fenced off with security razor wire. The two big rail yards in Jackson are off-limits. 

Fairground Street Bridge, closed since the early 1990s

The rail yard is much quieter than it was before the 2011 Mississippi River flood. I do not know where all the rolling stock went. For older articles on Levee Street:

• Historic Cotton Compress
• 1800 railroad warehouse/shop
• Tank farm

These photographs are from Kodak Ektar 100 film. I used a venerable Honeywell Pentax Spotmatic camera. Most of the rail yard photos are with my 135mm ƒ/3.5 lens, an inexpensive optic in its day but excellent mechanical and optical quality. Northeast Photographic in Maine developed the film and scanned the negatives with a Noritsu system. I reduced the saturation with Photoshop CS6 software.