Monochrome To Kodachrome?

 

Friends Shawn and Sheba, Half Moon Bay

While shooting on a recent photo walk with Shawn and Sheba, I was swapping back and forth between monochrome and color renderings settings. While exploring Fuji X-E1's exposure controls, I had found some adjustments allowed me to alter the intensity of my highlights and shadows, two things that I clearly understood. Through trial and error, I succeeded in simulating the high-contrast black and white images from my film years, and by accident, these same settings were retained when I shifted back to color.  More on the specific values later.

We eventually found ourselves at the Portuguese Cemetery in Half Moon Bay. While there I photographed a recently visited gravesite, anticipating a very clean rendition of the flag, as it was front lit on a cloudless day. I was pleased by how the image literally sparkled, but wasn't surprised, considering how well my monochrome exposure adjustments worked in color. For a brief moment, i thought the image reminded me of Kodachrome II, or at least the Kodachrome of my imagination, since I seldom used it when it was available.

Film Simulations: Fuji cameras started to get traction when photographers started experimenting the build in film simulations. These were not limited to the basics (Color, B&W, Sepia) but included three of Fuji's most popular transparency films (Provia, Velvia, Astia), but also filtered black and white simulations (black and white film with yellow, red, and green filters). All of these were presets, all easily accessed through the Film Simulation Menu. This was useful to know, but since I never used Fuji films in my 35mm cameras, I was content to state with the standard Provia setting. For proprietary reasons, Kodachrome was never an option for Fuji.

Kodachrome Quest: Ritchie Roesch's blog site Fuji X Weekly gave me the settings that could potentially give me a more true-to-purpose simulation of Kodachrome II on both my X-Pro 1 and X-E1, as they share the same sensor and image processor. The site suggests the following settings:

PRO Neg. Std

Dynamic Range: DR400

Highlight: +1 (Medium-High)

Shadow: +2 (High)

Color: -2 (Low)

Sharpness: +2 (Hard)

Noise Reduction: -2 (Low)

White Balance: Auto, +1 Red & -2 Blue

ISO: Auto, up to ISO 3200

Exposure Compensation: +1/3 to +2/3 (typically)

It turn out that three of the settings are identical. or nearly so, to those I selected for my enhanced monochrome preferences. The exposure compensation settings are the exact opposite, as Mr. Ritchie leans towards slight over-exposure, while I, true to traditional doctrine, favor underexposure. For the only time in my life I wish I had an X-E1 in chrome so I could easily identify it as the body with the Kodachrome presets. In he mean time, I shall enlist one of my black bodies to serve as my dedicated Kodachrome box, and I will see what happens if the sun ever comes out again.

Stacked Pancakes

Photo Source: Click here.

For this to make sense, you need to know that my newest kick is to assemble a compact lens kit using manually focusing "pancake" lenses. Pancakes, or "cookie" lenses, are lenses that are shorter in height than their focal lengths would suggest. To my recollection, the original pancake* was the 45mm 2.8 "Guide Number" Nikkor lens. When focusing the lens in the GN mode, the aperture would self-adjust to the output of a flash at that distance. This variable aperture approach was built into a number of contemporary rangefinder cameras, including my beloved Olympus 35 SP. The GN feature became obsolete with the introduction of self-metering flashes like the Rollei models E60 and E66.1967, and the later Honeywell Strobonars in 1971, and the ubiquitous Vivitar 283 in 1972 . The compact form factor would re-appear in the  45mm F/2.8 "P" lens, but without the GN feature. The lens became something of a collectable due to its limited production.

Order Up: My compact lens quest started with the Meike 28mm F 2.8 manual focus copy of the Fuji 27mm F 2.8 lens. Its angle of view is very close to equaling the 42mm lens of my old Olympus 35 SP. The Meike became a frequent fixture on my morning walk camera, and very compact once I attached a Fuji lens hood. Continuing on the compact theme, my next acquisition was a Laowa 10mm F 4.0 cookie lens. I've used this lens almost as much as the longer Meike, and really like its extremely wide 109 degree angle of view.

Buy yours here.

The final addition was a compact 50mm F 2.0 TTArtisan pancake lens. Again, its compact size would make it useful for those few times when a long lens might be needed. I have found that my tastes lean towards the wider lenses, and rarely use my 50mm lens on my cameras with APS sensors. Acclimation may be the key factor. Having worked with the 10mm Laowa and 12mm 7Artisan lenses for so long, even a 27/28mm lens feels like a short telephoto. I just got used to the "big sky" look of the wide angle. 

With three pancake lenses to carry I wanted to find a way to store them safely while gamboling about in a subject-rich environment. The belt pack I'm using to tote my Fuji X-E1 about has a padded partition that will accommodate two of these compact lenses, while the other compartment can hold the body with the third lens mounted. I would like to store two lenses so they won't rub against one another. 

I remember reading about a trick where two rear lens caps were glued together, allowing two lenses to be joined at the mounts. This will prevent unnecessary rubbing while keeping both mounts clean and safe.

A search on eBay uncovered multiple vendors who sell third-party rear lens caps for a trifle, so I bought a handful for a trifle. I took two and used a hand-held grinder to rough up the contact surfaces for better adhesion. I then mixed up some 2-part epoxy, spread a dollop on the contact surfaces, and pressed the two caps together. I then pressed them into the corner of a square-bottomed box so they would be properly aligned  and parallel with each other when the epoxy cured.

Here you see two pancakes, the 50mm and the 28mm, joined by the two rear lens caps I glued together. While the two stacked lenses (28mm F2.8 and 50mm F2.0) are about 1" taller than a 7artisans 55mm F 1.4, my original manual focus "long prime", this conjoined pair is compact enough to fit into a largish fanny pack that has become my carry-all when I'm in a manually focused, shoot-for-fun mood. 

You'll notice that I've installed Cat Labs Focusing Tabs on all three of these lenses. I really like how I now have a tactile way  to insure I'm rotating the focusing ring and not inadvertently messing with the aperture. While the tabs don't have the panache of the metal tabs found on the Leitz lenses, they have certainly earned their place in my kit.

Future Experiments: The 50mm is something of an unknown performer, as I haven't felt compelled to attach it to a body and use if exclusively for a time. This may be academic, since the 10mm cookie has been my favorite lens for capturing wide vistas with lots of blue sky in the background. I think I'm finally getting a good sense for what that little lens can do, and feeling comfortable with the short working distances. And now that I will occasionally pull out a polarizing filter, it seems most at home on the 10.

* After posting, I was reminded of the collapsible Leitz lenses are more compact when collapsed, and the non-collapsible Hektor 28 mm 6.3, which is flatter still.