ccr-logo-leaf

While we might be heading into the last days of Summer, that doesn’t mean we can’t look back and look forward to next year with the team’s favourite choices for film stocks during the hot and humid days of Canadian Summer. So join Alex, James, Jess, Bill and John and beat the heat with a cold beer.

Film Mentioned on Today’s Show

Lomography Purple
Jess adores Purple in the summer. It has a way of turning the ordinary into the otherworldly. Although you want to shoot this in bright light with lots of contrast. When shooting under a canopy, the greens can get boring, and sometimes it gets too purple. But you want a good blue sky and some green. It dislikes anything in white, so certainly not one for the winter. Jess prefers to shoot it in 120 and at ASA-400, and that grain is reduced in the bigger negative; it is graining in 35mm. Jess hopes to get out and try Purple at ASA-200, the sweet spot.

Pagoda
Nikon F5 – AF Nikkor 35mm 1:2D – Lomography Lomochrome Purple XR @ ASA-100 – Processing By: Burlington Camera
The Rock
Nikon F5 – AF Nikkor 35mm 1:2D – Lomography Lomochrome Purple XR @ ASA-100 – Processing By: Burlington Camera
The Rock
Nikon F5 – AF Nikkor 35mm 1:2D – Lomography Lomochrome Purple XR @ ASA-100 – Processing By: Burlington Camera
Understated
Nikon F5 – AF Nikkor 35mm 1:2D – Lomography Lomochrome Purple XR @ ASA-100 – Processing By: Burlington Camera

Kodak Gold 200
For Jess, Gold 200 is a bit of nostalgia, being the film she shot as a kid. She can still smell those warm summer nights when she sees the images. Perfect for golden hour, it’s warm floofy and romantic. She is also trying some experiments with pushing and pulling. One of the best parts about Gold 200 is how natural it renders colour, providing excellent sharpness while maintaining fine grain. And sure, it can be hard to get these days; it’s always worth getting. Plus, it’s once again available in medium format!

Fire Station 314
Nikon F2AS – AI Nikkor 35mm 1:2 – Kodak Gold 200 @ ASA-200 – Processing By: Burlington Camera
Not Bay Bay April 2022
Nikon F2AS – AI Nikkor 35mm 1:2 – Kodak Gold 200 @ ASA-200 – Processing By: Burlington Camera
FRB No. 67 - Kodak Gold 200 - Roll 01
Olympus OM-2n – Olympus G.Zuiko Auto-S 1:1,4 f=50mm – Kodak Gold 200 @ ASA-100 – Processing By: Burlington Camera
FRB No. 67 - Kodak Gold 200 - Roll 03
Nikon F5 – AF Nikkor 28-105mm 1:3.5-4.5D – Kodak Gold 200 @ ASA-400 – Processing By: Burlington Camera

Rollei RPX 25
This film checks all the right boxes for a summer film, provided that you have a bright and sunny summer. RPX 25 presents a beautiful contrasty, super sharp, and fine-grain. Introduced by MACRO Direct, the film is produced for the company marketed under the Rollei name. This rebranded film has been modified from its original film stock (most likely an Agfa films stock). It’s a redheaded stepchild of the RPX line, but it isn’t that ugly. RPX 25 is one of the lowest speed regular films that are panchromatic, but it has a lovely extended red sensitivity. The slow speed makes the film great for use in pinhole cameras or those who love to shoot wide-open to get that lovely out-of-focus rendering of some of your lenses. And it also works wonderfully as a reversal film and works great with the Adox Scala Developer.

Winter Trees
Rolleiflex 3.5E – Schneider-Kreuznach Xenotar 1:3.5 f=75mm – Rollei RPX 25 @ ASA-25
Front of old Dodge Pickup
Olympus Pen F – SMC Pentax M 50mm 1:1.4 – Rollei RPX 25 @ ASA-25 – Rodinal (1+50) 11:00 @ 20C
New Milton - July 2022
Minolta Maxxum 9 – Minolta Maxxum AF 24mm 1:2.8 – Rollei RPX 25 @ ASA-25 – Adox Scala Developer (1+1) 10:45 @ 20C
Mill Water Falls
Pacemaker Crown Graphic – Fuji Fujinon-W 1:5.6/125 – Rollei RPX 25 @ ASA-25 – Pyrocat-HD (1+1+100) 12:00 @ 20C

CineStill 400D
While this may have been an ASA-100 at least until CineStill introduced 400D. This is a film that isn’t a Portra 400 replacement but rather an alternative. And while CineStill is most known for its rebranded and remjet removed cine films, 400D is a new animal altogether. 400D has an amazing latitude where you can over and under expose and only have to push or pull once you get beyond a two-stop over/under. You get a lovely halation in the bright sun, which might not be for everyone, and you can always dial in back. Bill prefers to shoot it as ASA-250 to pull out good shadow detail. Currently, they have it in 35mm and 120, with 4×5 coming soon and maybe 220.

Spirit of York Distillery
Nikon F5 – AF Nikkor 28-105mm 1:3.5-4.5D – CineStill 400D @ ASA-250 – Processing By: Burlington Camera
Lower Bayview and Richmond Hiill Sub _
Nikon F5 – AF Nikkor 28-105mm 1:3.5-4.5D – CineStill 400D @ ASA-250 – Processing By: Burlington Camera
Bridge Across Irvine Creek TWo
Canon New F-1 – Canon Lens FDn 50mm 1:1.4 – CineStill 400D @ ASA-250 – Processing By: Burlington Camera
Elora Mill Inn at the End of Mill St
Canon New F-1 – Canon Lens FDn 50mm 1:1.4 – CineStill 400D @ ASA-250 – Processing By: Burlington Camera

Kodak TMax 100 (But Different)
The bright sunny days of summer often are high-contrast when it comes to black & white film, and given that Tmax 100 already is fairly contrasty, can that be tamed and at the same time give off that lovely grey tonal range of Panatomic-X? Alex loves to over-expose and pull his Tmax 100 to give a look that comes fairly close to the classic Panatomic-X. In addition to that heck of an over-exposure, he also pulls it in development using by 10% (one-stop) then an additional 5% (half-stop-ish) and trusts int the latitude of 100TMX.

The Main Drag
Intrepid – Fuji Fujinon-W 1:5.6/125 – Kodak TMax 100 @ ASA-32 – Kodak Xtol (1+1) 8:00 @ 20C
J-Wing
Mamiya m645 – Mamiya-Sekor C 35mm 1:3.5 N – Kodak TMax 100 @ ASA-32 – Ilford Ilfotec HC (1+31) 5:00 @ 20C
Beyond Bliss
Rolleiflex 2.8F – Carl Zeiss Planar 80mm 1:2.8 – Kodak TMax 100 (100TMX) @ ASA-32 – Kodak Xtol (1+1) 8:00 @ 20C
CCR:FRB - Review 25 - Kodak TMax 100 - Roll 04 (Rodinal)
Contax G2 – Carl Zeiss Biogon 2,8/28 T* – Kodak TMax 100 @ ASA-32 – Blazinal (1+50) 10:00 @ 20C

Rollei Retro 80s (As Infrared)
John loves to work outside the visual spectrum, and while Retro 80s is not a true IR film (although Rollei IR400 is awesome), it does have the sensitivity to take you most of the way there, and the results certainly speak for themselves when you put the film behind an IR72 filter. If you haven’t used an R72 filter before, these are nearly opaque, making it impossible to see through if you’re working with an SLR. But these are great using a rangefinder or TLR (with a cheap adapter)! Now you also have to adjust your exposure and shoot under high-noon harsh overhead light is perfect for shooting with an IR filter. Now you also have to shoot the film (normally an ASA-80) at ASA-2, so you might need to pack an external meter. Don’t be afraid to bracket the film; go +2 and -1 for best results. Now you will develop normally, so over-expose the film but don’t pull in development.

Fujica GW690 with IR72 filter
Fujifilm Fujica GW690 – EBC Fujinon 1:3.5 f=90mm
Rolleiflex 3.5E3 with IR72 filter
Rolleiflex 3.5E – Schneider-Kreuznach Xenotar 1:3.5 f=75mm (R72) – Rollei Reto 80s @ ASA-2
Rolleiflex 3.5E3 with IR72 filter
Rolleiflex 3.5E – Schneider-Kreuznach Xenotar 1:3.5 f=75mm (R72) – Rollei Reto 80s @ ASA-2

Want a subscription to SilverGrain Classics and are a fan of Classic Camera Revival? Visit their shop online and buy a magazine or a subscription? Looking for a good spot to get your gear and material fix check out Burlington Camera (Burlington, ON), Downtown Camera (Toronto, ON), Film Plus (Toronto, ON), Belle Arte Camera (Hamilton, ON), Pond’s FotoSource (Guleph, ON), Foto Art Camera (Owen Sound, ON). In Quebec, Photo Service (Montreal, QC) and Studio Argentique (Montreal, QC), Out West there’s Kerrisdale Cameras (BC), The Camera Store (Calgary, AB) and Beau Photo Supply (Vancouver, BC). Additionally you can order online at Argentix (Quebec), buyfilm.ca (Ontario), the Film Photography Project or Freestyle Photographic. Looking for development options, check out these labs that have our support, Boréalis Photo Lab, Old School Photo Lab, The Darkroom, and Film Rescue International.

Also you can connect with us through email: classiccamerarevivial[at]gmail[dot]com or by Facebook, we’re at Classic Camera Revival, Twitter @ccamerarevival, and Instagram (@classiccamerarevival)!

badge image

Leave a Reply

Your email address will not be published.