Tag: blazinal

CCR:FRB – Review 17 – Rollei RPX 100

CCR:FRB – Review 17 – Rollei RPX 100

The middle-of-the-road film stock in the RPX line and another fantastic entry. Like RPX 25, RPX 100 is the spiritual successor to Agfa APX 100. While I don’t have much experience with APX 100 (I have about 50 sheets of the stuff in 4×5), the film is similar in look to Kodak TMax 100. And actually, you can use some of the TMax 100 times with RPX 100. While it’s no FP4+, I actually think RPX 100 is slightly better than Kodak TMax 100 mostly because of the huge latitude on the film, in fact, you can even do the Panatomic-X trick and shoot the film at ASA-32 and amazing results!

CCR:FRB - Review 17 - Rollei RPX 100

Film Specs
Type: Panchromatic Black & White
Film Base: Polyester (PE)
Film Speed: ASA-100, Latitude: 25-800
Formats Avaliable: 35mm, 120, 4×5

Roll 01 – Rollei RPX-D
Like Kodak’s TMax developer, Rollei released their RPX-D developer for the RPX 100 and RPX 400 films. And while using the developer will cost you, as it’s not available in every store, it provides amazing results with the film. From the smooth tones and fine grain, and like TMax films in TMax developer I honestly feel RPX-D is made perfectly for RPX 100, more so than RPX 400. Of course, the biggest issue is that you do need to purchase the developer from speciality online stores and the bottle isn’t that big.

52:500c - Week 04 - A Fort for A City52:500c - Week 04 - A Fort for A City52:500c - Week 04 - A Fort for A City52:500c - Week 04 - A Fort for A City

Technical Details:
Hasselblad 500c – Carl Zeiss Distagon 50mm 1:4 – Rollei RPX 100 @ ASA-100
Rollei RPX-D (1+15) 6:30 @ 20C

Roll 02 – Kodak D-76
Like it’s position in the RPX line, RPX 100 is my second favourite film from the lineup. And you know, D-76 only solidifies that place you get a beautiful image that is far from boring, the contrast is there, the tonal range is there and you know you get a decently sharp image on top of all that. While in the sky areas you see a bit more grain, it isn’t anything to worry about it actually looks decent. And while you could tone down the contrast by going 1+1 or using Kodak D-23. I think the stock looks better.

CCR:FRB - Review 17 - Rollei RPX 100 - Roll 03 (Kodak D-76)CCR:FRB - Review 17 - Rollei RPX 100 - Roll 03 (Kodak D-76)CCR:FRB - Review 17 - Rollei RPX 100 - Roll 03 (Kodak D-76)CCR:FRB - Review 17 - Rollei RPX 100 - Roll 03 (Kodak D-76)

Technical Details:
Rolleiflex 2.8F – Carl Zeiss Planar 80mm 1:2.8 – Rollei RPX 100 @ ASA-100
Kodak D-76 (Stock) 8:30 @ 20C

Roll 03 – Rodinal
Another win for RPX 100, and along the same lines of RPX-D, Rodinal does right by RPX 100. You get the same fine grain smooth tones and contrast. And well I think, RPX 100 responds far better to Rodinal than TMax 100. Another interesting point is that it doesn’t matter if you use 1+25 or 1+50 there’s very little difference between them in how the film responds, it again depends on how much time you have. Though I do think, the 1+25 will give you a slightly sharper image.

52:500c - Week 37 - Shaken, Not Stirred52:500c - Week 37 - Shaken, Not Stirred52:500c - Week 37 - Shaken, Not Stirred52:500c - Week 37 - Shaken, Not Stirred

Techincal Details:
Hasselblad 500c – Carl Ziess Planar 80mm 1:2.8 – Rollei RPX 100 @ ASA-100
Blazinal (1+25) 9:00 @ 20C

Roll 04 – Kodak HC-110
Out of all the developers I used with RPX 100, personally, HC-110 remains my personal favourite. A well-rounded film needs a well-rounded developer, and while HC-110 is known to bump up the contrast in most films, it isn’t too bad on RPX 100, rather you get the same results as you would in any other developer. Not to mention the same smooth tones and fine grain images. While the sharpness is a bit less, it’s far from noticeable, but you do get an uptick in grain.

52:500c - Week 31 - Vieux-Québec52:500c - Week 31 - Vieux-Québec52:500c - Week 31 - Vieux-Québec52:500c - Week 31 - Vieux-Québec

Technical Details:
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Rollei RPX 100 @ ASA-100
Kodak HC-110 Dil. B 9:00 @ 20C

Final Thoughts
When it comes to RPX 100, I have so many other films on the same time that I love shooting, Ilford FP4+, of course, being top of the list, but if I had to pick a film to replace say Kodak TMax 100 or even Delta 100 I would go with RPX 100. It’s readily available in physical stores and easily obtained online. Plus it carries on that spirit of the APX line of films. I actually have 50 sheets of APX 100 in 4×5 waiting to be shot hopefully this summer. Not to mention RPX 100 does really well if you use TMax 100 times, even the Panatomic-X trick.

CCR:FRB – Review 15 – Fomapan 400

CCR:FRB – Review 15 – Fomapan 400

Fomapan 400, the big mystery, at least to me. I’ve never once shot this film, mostly because I had heard some terrible things about it. Now I am set in my ways when it comes to the faster films, sticking to the ones I know and enjoy. Tri-X, HP5+, and JCH StreetPan. Yet, through shooting and developing the film and seeing the work Bill Smith has been doing with the stock in 35mm I am plesently surprised. There’s a certain classic look and feel well before the days when films were touted as “Finest Grain” or “Sharpest 400-Speed Film” the days where you wanted fine grain you shot Panatomic-X and if you wanted speed you shot Tri-X. Grain is good.

CCR:FRB - Review 14 - Fomapan 400

Film Specs
Type: Panchromatic B&W
Film Base: Polyester
Film Speed: ASA-400, Latitude: 100-3200
Formats Avaliable: 35mm, 120, Sheets

Roll 01 – Kodak D-23
Surprisingly this was exactly how I was expecting to see my Fomapan 400 images, contrasty, grainy, sharp, but not overly so. A very classic look, like the Kodak films of the middle of the 20th century. Films that don’t claim to be super sharp and fine-grained, but produce amazing images! It’s almost as if these were shot in the 1960s or 1970s. Yet the grain is not that bad to be honest. Sure you see it in the skies, but honestly, you still have a sharp clear image with some decent tonal range to work with. So maybe, Fomapan 400 isn’t as bad as people think.

CCR:FRB - Review 14 - Fomapan 400 - Roll 01 (Kodak D-23)CCR:FRB - Review 14 - Fomapan 400 - Roll 01 (Kodak D-23)CCR:FRB - Review 14 - Fomapan 400 - Roll 01 (Kodak D-23)CCR:FRB - Review 14 - Fomapan 400 - Roll 01 (Kodak D-23)

Technical Details:
Mamiya m645 – Mamiya-Sekor C 45mm 1:2.8 N – Fomapan 400 @ ASA-250
Kodak D-23 (Stock) 7:30 @ 20C

Roll 02 – Rodinal
So I guess this is where Fomapan 400 get’s it’s ill reputation. Usually, I don’t mind even the faster films souped in Rodinal, Pancro 400, Tri-X, StreetPan. But with Fomapan 400, even giving it every possible chance, pulling it one stop, using a dilute developer. It’s doesn’t look bad, it’s just it could look better. While you have the tone, contrast, and sharpness in the images the grain gets all muddied up! It reminds me of what Fomapan 200 looked like in Xtol. Well I mean, I had a feeling it could happen, while not a bad developer, it wouldn’t be my first choice with Foma 400.

CCR:FRB - Review 14 - Fomapan 400 - Roll 02 (Rodinal)CCR:FRB - Review 14 - Fomapan 400 - Roll 02 (Rodinal)CCR:FRB - Review 14 - Fomapan 400 - Roll 02 (Rodinal)CCR:FRB - Review 14 - Fomapan 400 - Roll 02 (Rodinal)

Technical Details:
Rolleiflex 2.8F – Carl Ziess Planar 80mm 1:2.8 – Fomapan 400 @ ASA-200
Blazinal (1+50) 11:00 @ 20C

Roll 03 – Kodak HC-110
Out of all the developers, I didn’t expect the worst to come out of HC-110, I actually expected it out of Rodinal. Yet here we are, a solid performer yes and there is actually less grain on these images that I was originally expecting for shooting it at full box speed. Am I disappointed, not really, actually I feel fairly vindicated that I could get some heavy grained images out of the film. But just because they’re grainy, doesn’t make them bad. I actually like the shots, the tones and contrast are rich and the images clean and Fomapan 400 doesn’t claim to be a fine-grained film. There’s almost a classic pushed look to these, which in the right situation would work wonderfully!

CCR:FRB - Review 14 - Fomapan 400 - Roll 03 (Kodak HC-110)CCR:FRB - Review 14 - Fomapan 400 - Roll 03 (Kodak HC-110)CCR:FRB - Review 14 - Fomapan 400 - Roll 03 (Kodak HC-110)CCR:FRB - Review 14 - Fomapan 400 - Roll 03 (Kodak HC-110)

Techincal Details:
Mamiya m645 – Mamiya-Sekor C 35mm 1:3.5 N – Fomapan 400 @ ASA-400
Kodak HC-110 Dil. H 13:00 @ 20C

Roll 04 – Kodak Tmax Developer
Now, this is a pleasant surprise. Maybe it’s the compensating nature of the developer, or maybe the film isn’t that bad at box speed. But no matter what it is, TMax Developer and Fomapan 400 is a wonderful combination. Is there grain, sure, but no more or less than from Bergger Pancro 400. Not to mention, you have a pretty sharp image, amazing tonal range. And nothing of what I would have expected from Fomapan 400.

CCR:FRB - Review 14 - Fomapan 400 - Roll 04 (Kodak TMax Developer)CCR:FRB - Review 14 - Fomapan 400 - Roll 04 (Kodak TMax Developer)CCR:FRB - Review 14 - Fomapan 400 - Roll 04 (Kodak TMax Developer)CCR:FRB - Review 14 - Fomapan 400 - Roll 04 (Kodak TMax Developer)

Technical Details:
Rolleiflex 2.8F – Carl Zeiss Planar 80mm 1:2.8 – Fomapan 400 @ ASA-400
Kodak TMax Developer (1+4) 8:00 @ 20C

Final Thoughts
So, maybe I was wrong about Fomapan 400. The film itself has surprised me, with how good it is. It actually reminds me of old school Tri-X in its tonality and contrast. Is there grain, of course, but nothing that looks terrible. I mean, the grain patterns that I see remind me of what I saw with Pancro 400, and I rather liked that film when it was developed right. Is Fomapan 400 a film for every day, of course not, but if you are shooting at a Korea or Vietnam era reenactment camp, the images could look like they were taken during the war if you shoot the right camera and develop it right. For me, the developers of choice would be Kodak D-23 and I’m sure D-76 does just as fine a job, also TMax Developer and HC-110. And don’t be afraid to shoot the film at full box speed, I just wouldn’t push it too far past.

CCR:FRB – Review 14 – Fomapan 200

CCR:FRB – Review 14 – Fomapan 200

Fomapan 200 is a film stock that like TMax 400 and Delta 400 I’ve struggled with. I find it far too grainy for 200-speed film stock, often rather soft on the edges and can be rather fickle about lighting conditions. But it’s not a bad film; I think it needs to be handled with little extra care. Fomapan 200, was the first of the Fomapan films that I tried, and while initially disappointed in it, I quickly learned to like the film, for certain applications.

CCR:FRB - Review 14 - Fomapan 200

Film Specs
Type: Panchromatic B&W
Film Base: Polyester
Film Speed: ASA-200, Latitude: 64-800
Formats Avaliable: 35mm, 120, Sheets

Roll 01 – Kodak HC-110
You know, there’s something about a little bit of imperfection that makes you enjoy a film and developer combination. And that’s HC-110 and Fomapan 200, it just gives a classic look, that depression era dustbowl tone, contrast, a little soft around the edges, a bit of grain to set it all off. Far from perfectly sharp, toned, and fine grain, but in situations, it works rather well.

CCR:FRB - Review 14 - Fomapan 200 - Roll 01 (Kodak HC-110)CCR:FRB - Review 14 - Fomapan 200 - Roll 01 (Kodak HC-110)CCR:FRB - Review 14 - Fomapan 200 - Roll 01 (Kodak HC-110)CCR:FRB - Review 14 - Fomapan 200 - Roll 01 (Kodak HC-110)

Technical Details:
Mamiya m645 – Mamiya-Sekor C 45mm 1:2.8 N – Fomapan 200 @ ASA-200
Kodak HC-110 Dil. H 9:00 @ 20C

Roll 02 – Rodinal
It’s strange to describe a film as being ‘soft’ when developed in Rodinal. Normally whenever I soup a film, it’s sharp and has an uptick in grain. On Fomapan 200, I found the negatives underdeveloped, and rather soft. And while the grain is rather noticeable on the images, I don’t find it pleasing in any way. It just doesn’t look good for me. But I wouldn’t stop you from using Rodinal and Foma 200, use the 1+50 dilution and the 9 minute time, the results from what I’ve seen on Flickr are far superior. But if you insist on using the 1+25 dilution, add an extra 30 seconds. The top two images were done at 5 minutes the bottom two at 5.5 minutes; the difference is pretty clear!

Stone & MortarLong SealedPresbyterianThe Bridge

Technical Details:
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Fomapan 200 @ ASA-200
Blazinal (1+25) 5:00 @ 20C & Blazinal (1+25) 5:30 @ 20C

Roll 03 – Kodak D-76
If you want a classic look, then look no further than Fomapan 200 in D-76. But it’s not an unpleasant softness, but a classic one. The edges are smooth along with the contrast and the tones. Then there’s a grain, while D-76 is not known for reducing grain, it generates a fairly pleasing grain pattern, similar to that you’d see on Fomapan 400 pulled to ASA-200. It still makes for an exciting film!

CCR:FRB - Review 14 - Fomapan 200 - Roll 03 (Kodak D-76)CCR:FRB - Review 14 - Fomapan 200 - Roll 03 (Kodak D-76)CCR:FRB - Review 14 - Fomapan 200 - Roll 03 (Kodak D-76)CCR:FRB - Review 14 - Fomapan 200 - Roll 03 (Kodak D-76)

Techincal Details:
Mamiya m645 – Mamiya-Sekor C 45mm 1:2.8 N – Fomapan 200 @ ASA-200
Kodak D-76 (1+1) 9:00 @ 20C

Roll 04 – Kodak Xtol
I have to say, after developing Fomapan 200 in Xtol, I nearly gave up on both Xtol and Fomapan 200. While described as a fine grain developer, it did little to help out with the grain on Fomapan 200. Not to say the grain is terrible on the stock, I was expecting something a little more, clean than what I got. But don’t let the result discourage you, I think if developed for a shorter time, or a slight pull given to the film, the results would be a bit different.

Sydney Harbor Defenses - Stubbert's PointSydney Harbor Defenses - Chapel Point BatterySydney Harbor Defenses - Stubbert's PointSydney Harbor Defenses - Stubbert's Point

Technical Details:
Hasselblad 500c – Carl Zeiss Distagon 50mm 1:4 – Fomapan 200 @ ASA-200
Kodak Xtol (1+1) 8:30 @ 20C

Final Thoughts
There’s no denying it, Fomapan 200 is a soft film, no matter what you develop it in! Now, there is a variant of Fomapan 200 that I don’t represent here, a motion picture surveillance variant that is a touch sharper and has a finer grain. However, that is only available in 35mm. There is nothing wrong with the common consumer variant of Fomapan 200; I did give it the benefit of shooting all these in medium format as well. But it’s a classic look, soft all around, there’s some grain, but it’s a classic pleasing grain. It reminds you of the film of yesterday, so something for me to try at reenactment events. If you’re looking to pick some up, I find Fomapan 200 hard to find in physical stores, however online retailers like Argentix.ca or Freestyle Photographic. If you want to try the surveillance variant, you can pick it up at FPP B&W 200 through the Film Photography Project.

CCR:FRB – Review 12 – Kodak Tri-X 400

CCR:FRB – Review 12 – Kodak Tri-X 400

Kodak Tri-X, the mention of the film stock is usually met with awe or aversion. But for me, Tri-X is my film of choice no matter what situation I’m going into. I know that with the film I can get consistent results no matter what situation I throw myself into from abandoned buildings to a wedding, and will get amazing results no matter what chemical I toss the film into. With a classic look and feel, you can torture this film to your heart’s content and will always get the results you need.

CCR:FRB - Review 12 - Kodak Tri-X 400

Film Specs
Type: Panchromatic B&W
Film Base: Acetate
Film Speed: ASA-400, Latitude: 100-6400
Formats Available: 35mm, 120, Sheets (Note: Sheet films of Tri-X are known as 320TXP)

Roll 01 – Rodinal
Like my aversion to using Rodinal with Bergger Pancro 400, I thought the exact same thing with Tri-X, putting a sharp developer on a fast film will result in a grain fest. Yet, I wanted to give it a go anyways and the results astounded me. The grain, while more present than normal, is reasonable, it is a little more noticeable in 35mm, it also shows off exactly what Tri-X can do. With sharpness, tonality, and contrast that show you exactly how the world is supposed to look in black & white. If you want something a little smoother, bump the dilution to 1+50 for even better results. Just remember to use a chemical stop bath, I forgot one time and overdeveloped the sheets.

Amy & Jeremy - 12th August 2017Amy & Jeremy - 12th August 2017Amy & Jeremy - 12th August 2017Amy & Jeremy - 12th August 2017

Technical Details:
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Kodak Tri-X 400 @ ASA-200
Blazinal (1+25) 7:00 @ 20C

Roll 02 – Kodak HC-110
The first roll of Tri-X I developed on my own was with HC-110, back in 2012. Now you’re probably screaming that I developed for less than five minutes, which is a big no-no apparently. And even now that I use longer developing times (), the results are the same! But it works for me. It seems that, at least to me, HC-110 and Tri-X are made for each other. The tones are there, the sharpness is there, and the contrast is through the roof. And it also shows off how well Tri-X can handle even the worst lighting conditions like a rainy day in Arras under heavy clouds.

Rainy Day in ArrasRainy Day in ArrasRainy Day in ArrasRainy Day in Arras

Technical Details:
Contax G2 – Carl Zeiss Biogon 2,8/28 T* – Kodak Tri-X 400 @ ASA-400
Kodak HC-110 Dil. B 4:30 @ 20C

Roll 03 – Kodak TMax Developer
While not my favourite choice for Tri-X, that doesn’t mean TMax Developer does a good job, it does, it just doesn’t make Tri-X look like the Tri-X I know and enjoy. But thankfully, Tri-X looks good, no matter what you develop it in. The grain is far more chunky as if it’s trying to make classic grain look like modern grain. It may even look close to a classic Tri-X with big grain and lower than normal contrast. But if it’s all you got, it does its job. Though I personally would knock the developing time back 15-30 seconds next time, or pull the film further back to 200.

CCR:FRB - Review 12 - Kodak Tri-X 400 - Roll 03 (Kodak TMax Developer)CCR:FRB - Review 12 - Kodak Tri-X 400 - Roll 03 (Kodak TMax Developer)CCR:FRB - Review 12 - Kodak Tri-X 400 - Roll 03 (Kodak TMax Developer)CCR:FRB - Review 12 - Kodak Tri-X 400 - Roll 03 (Kodak TMax Developer)

Techincal Details:
Nikon F5 – AF Nikkor 50mm 1:1.4D – Kodak Tri-X 400 @ ASA-320
Kodak TMax Developer (1+4) 7:15 @ 20C

Roll 04 – Kodak D-23
While D-76 is a good choice of developer for Tri-X, I personally prefer the slower working D-23 as it really helps show off the range for Tri-X, and actually gives the film a far more classic look than newer developers. You get the same tone and sharpness that I have come to expect from the film but it does knock back the contrast but not by much if you prefer more contrast D-76 would be a better choice.

Project:1812 - Fortress HalifaxProject:1812 - Fortress HalifaxProject:1812 - Fortress HalifaxProject:1812 - Fortress Halifax

Technical Details:
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Kodak Tri-X 400 @ ASA-400
Kodak D-23 (Stock) 7:30 @ 20C

Final Thoughts
Kodak Tri-X will remain, one of my favourite films, I can push and pull the film no matter what and can always pull good images out of it. And though you don’t get the clean modern look as you would with TMax 400, it’s that classic grain and contrast that I desire when I’m out on the street or in portraiture. It’s the classic in the yellow box and one that you can get pretty much anywhere you can buy film. While I wouldn’t develop in TMax developer, it sings in Rodinal, D-23 or D-76, HC-110 and so many other developers.

CCR:FRB – Review 11 – Ilford Delta 100

CCR:FRB – Review 11 – Ilford Delta 100

By far my favourite of all the Delta films (which isn’t hard, there are only three) and my favourite of the mid-speed Modern Films (Delta, TMax etc.). Delta 100 is what I expect from a modern film, sharp, fine-grained, and can do anything you want it to without any major issues. Unlike the faster films, this one can work with pretty much any developer I throw it in and loves any lighting situations. And while as an indoor film it can suffer from rather harsh reciprocity failure, if done right, you don’t have to worry.

CCR:FRB - Review 11 - Ilford Delta 100

Film Specs
Type: Panchromatic B&W
Film Base: Acetate
Film Speed: ASA-100, Latitude: 50-800
Formats Available: 35mm, 120, Sheets

Roll 01 – Rodinal
While not a personal favourite developer with Delta 100, which is strange, Rodinal does a good enough job to show off the more modern look and feel of the film. And despite being a 100-speed film I did notice a bit more grain with the film than I was expecting, but nothing too serious, the grain is of course, far less noticeable if you bump up the negative size to sheet (4×5) in my case. But you still get bright, clean negatives with tones across the scale.

DO:H - Christ's Church CathedralDO:H - New Vision United ChurchDO:H - St. Lawrence the MartyrDO:H - New Vision United Church

Technical Details:
Hasselblad 500c – Carl Zeiss Distagon 50mm 1:4 – Ilford Delta 100 @ ASA-100
Blazinal (1+25) 9:00 @ 20C

Roll 02 – Kodak HC-110
If you want to show off what Delta 100 can do, there are two developers; the first is DD-X, the second is HC-110. These both show what Delta 100 can do, blacks are black, whites are whites, and there are so many shades of grey in between they could write some terrible books about it. Not to mention you can adjust the dilution to get the level of contrast you want. Personally, I find with B it’s a little too contrasty, and E does it just right. Not to mention you maintain the same level of sharpness and fine grain you’d come to expect from the film.

CCR:FRB - Review 11 - Ilford Delta 100 - Roll 02 (HC-110)CCR:FRB - Review 11 - Ilford Delta 100 - Roll 02 (HC-110)CCR:FRB - Review 11 - Ilford Delta 100 - Roll 02 (HC-110)CCR:FRB - Review 11 - Ilford Delta 100 - Roll 02 (HC-110)

Technical Details:
Rolleiflex 2.8F – Carl Zeiss Planar 80mm 1:2.8 – Ilford Delta 100 @ ASA-100
Kodak HC-110 Dil. E 7:30 @ 20C

Roll 03 – Ilford DD-X
Like my review of Delta 400, rather than use Kodak TMax developer, I went with Ilford’s DD-X. And by far this is my favourite developer to use for this film. Even with the 35mm size, you get a beautiful film with amazing contrast, tone, sharpness, and fine grain. Everything you would expect from a modern emulsion and grain structure. And to be perfectly honest, DD-X and Delta 100 are my favourite combo for DD-X as a whole.

CCR - Review 5 - Nikon F2 PhotomicCCR - Review 5 - Nikon F2 PhotomicCCR Review 5 - Nikon F2 PhotomicCCR - Review 5 - Nikon F2 Photomic

Techincal Details:
Nikon F2 Photomic – AI-S Nikkor 50mm 1:1.4 – Ilford Delta 100 @ ASA-100
Ilford DD-X (1+4) 12:00 @ 20C

Roll 04 – Kodak D-76
As with Kodak TMax 100, you can show off exactly how well these modern films take to classic developers, while I haven’t used the stock dilution with Delta 100, the 1+1 shows off the beautiful contrast, tones, and fine grain you get with the film. And while it is a longer developing time, the extra effort is certainly worth it. And if this is the results from 35mm, I would love to see how much better it would be with medium and large format.

Industrial LightsClose UpGosserPeeling and Painted

Technical Details:
Nikon F5 – AF DC-Nikkor 105mm 1:2D – Ilford Delta 100 @ ASA-100
Kodak D-76 (1+1) 11:00 @ 20C

Final Thoughts
Delta 100 is one of those films that you cannot do anything wrong with. No matter what you develop the film in, it gives you solid results. And if you’re looking for that solid modern look in your images in the street, in portraits, landscape, and architecture this film will deliver it to you. Like any of these modern films, however, it is hard on your fixer, and you’ll probably want to give it another minute or so from the standard time of 5 minutes, and pre-wash and hypo-clear is a must to clear off that purple anti-halation layer that does stay on your negatives.

CCR Review 86 – Yashica YF

CCR Review 86 – Yashica YF

The iconic Leica camera, often cloned and duplicated by many, the Russians with their Fed line, and the Japanese by Canon, Nikon, and Yashica. Wait, Yashica? Meet the Yashica YF, a camera that I didn’t even know existed until fellow photographer and friend James Lee showed it off. The YF, based on the Nicca 3L, which Yashica bought up the whole company, is a wonderful combination of the Barnack Leicas and the M-Series. Combined in such a way to produced a spectacular camera that shows off exactly how a rangefinder of the era should look and behave. Big thanks to James Lee for loaning out this rare beauty for a review.

CCR Review 86 - Yashica YF

The Dirt
Make: Yashica
Model: YF
Type: Rangefinder
Format: 35mm, 36x24mm
Lens: Interchangeable, Leica Thread Mount (LTM/M39)
Year of Manufacture: 1959

CCR Review 86 - Yashica YFCCR Review 86 - Yashica YF

The Good
One of the biggest issues I have with the Barnack Leicas is film loading, it’s difficult to put it mildly. From having to trim the film, and load it up just right for everything to catch. Even in the M-Series, you have the same song and dance, but have a window to help you actually see if the film got loaded correctly. On the YF, you still have the bottom load, but this time around I nailed it on the first try without any trimming. Now the YF also has the backdoor to help ensure you have it loaded correctly. For advancing the film, gone is the knob and the long traditional leaver, instead, there’s a small thumb advance located between the top plate and main body, well placed to easily operate. The viewfinder is big and bright with a large rangefinder patch and bright lines for the 50mm and 90mm focal lengths. Take these items, the YF offers an enjoyable user experience, even for those who don’t have a fond view of the older Leica experience. And finally, you have the M39/Leica Thread Mount (LTM), this gives you a wide range of lenses including Leica, Canon, Nikon, Russian, and Yashica giving you a powerful camera that can be moulded to exactly how you want. And I wouldn’t look down on the native Yashica glass, the results I got out of the Yashinon 50mm f/1.8 are spectacular.

CCR Review 86 - Yashica YFCCR Review 86 - Yashica YF

The Bad
The two biggest complaints I have about the YF are actually two rather small features, both in what they are, and their physical size. The first is the shutter speed dial, in addition to having two shutter speed dials (normal and slow), which is something you see often with cameras of this era, and it a minor annoyance. The dial is rather small given the area on the top of the camera. You could easily have put a single shutter speed dial on top, and make it a little more normal size. The second is the rewind release, it’s a tiny button on the top, if it wasn’t for the red dot, I would’ve missed it, and I nearly had to use the point of my pocket knife blade to depress it. At least it doesn’t need to be held down to allow for rewinding. And speaking of rewinding, it ended up being a rather awkward method as you can’t lift up the rewind knob for easy turning. I ended up having to spin the camera body like a noise maker for an effective rewind. And finally, there’s the PC socket, I got a couple small jolts from it as it sits rather close to where I put my finger when shooting.

CCR Review 86 - Yashica YFCCR Review 86 - Yashica YF

The Lowdown
If you can find a YF in working order, you’re in for a treat. Of course, you’ll also have to shell out a great deal of money for it at the same time. Unless you are lucky and come across one that needs a great deal of TLC to get it up and running and is being sold at a deep discount. But no matter how you get your YF, it would be worth the effort. This is a photographer’s camera, well designed, and well made. If you can find one with the original Yashinon lens, all the better, but I think, no matter what glass it on the front, it will give you a solid performance.

All Photos Taken in Oakville, Ontario
Yashica YF – Yashinon f=5cm 1:1.8 – Kentmere 100 @ ASA-50
Blazinal (1+50) 9:00 @ 20C

CCR:FRB – Review 10 – Rollei Ortho 25 Plus

CCR:FRB – Review 10 – Rollei Ortho 25 Plus

In the early days of Photography, most photographic stocks were Orthochromatic, which means they didn’t see a certain colour on the spectrum, mostly this meant the film stock could not see red light, other times it meant the film didn’t see blue light. And while today Panchromatic stocks are the norm, there is still a need for technical films. While shooting Ortho 25, I worked under the assumption that it didn’t see red light. However, I’m not sure of which colour the film is not sensitive to. But it doesn’t matter now; Ortho 25 is an amazing slow black & white film that is deadly sharp and so fine-grained I don’t think it has any.

CCR:FRB - Review 10 - Rollei Ortho 25 Plus

Film Specs
Type: Orthochromatic B&W, Spectral Sensitivity to 380 – 610nm
Film Base: Polyester
Film Speed: ASA-25, Latitude: 12-50
Formats Avaliable: 35mm, 120, Sheets

Roll 01 – Kodak D-76
When you have a film that’s rated to ASA-25, I think it is impossible to get any heavy grain pattern. And while D-76 is a fairly common developer, it still produces amazing images with Ortho 25. You do see a bit more of darkening of the reds in the images, mainly brickwork in the buildings. But nothing seriously heavy. Sadly there’s no 1+1 time available at the moment, but I would love to see what a more dilute image would look like.

CCR:FRB - Review 10 - Rollei Ortho 25 Plus - Roll 01 (Kodak D-76)CCR:FRB - Review 10 - Rollei Ortho 25 Plus - Roll 01 (Kodak D-76)CCR:FRB - Review 10 - Rollei Ortho 25 Plus - Roll 01 (Kodak D-76)CCR:FRB - Review 10 - Rollei Ortho 25 Plus - Roll 01 (Kodak D-76)

Technical Details:
Rolleiflex 2.8F – Carl Zeiss Planar 80mm 1:2.8 – Rollei Ortho 25 Plus @ ASA-25
Kodak D-76 (Stock) 6:00 @ 20C

Roll 02 – Rodinal
I was expecting a little more drama, reds that were coming out black, something exciting. And it pains me to say it, but these images look normal, sure you get next to no grain, images sharp enough to cut yourself on. But still, I was expecting something a little bit more out of this film, to be honest. Now, it’s not to say Rodinal is a poor choice for this film; it works well you get a full panchromatic image which is unexpected, but still a pleasing look all the same. Very low on the contrast however in many of the shots. I only really noticed the darker rendering of the reds in the brick detail shot.

CCR:FRB - Review 10 - Rollei Ortho 25 Plus - Roll 02 (Rodinal)CCR:FRB - Review 10 - Rollei Ortho 25 Plus - Roll 02 (Rodinal)CCR:FRB - Review 10 - Rollei Ortho 25 Plus - Roll 02 (Rodinal)CCR:FRB - Review 10 - Rollei Ortho 25 Plus - Roll 02 (Rodinal)

Technical Details:
Nikon F5 – AF Nikkor 35mm 1:2D – Rollei Ortho 25 Plus @ ASA-25
Blazinal (1+50) 6:00 @ 20C

Roll 03 – TMax Developer
I wasn’t too sure about TMax Developer, but I think Ortho 25 responded well to it. While the Massive Developer Chart calls for a 6 minute time in 24C water, I didn’t realise that until after I had prepared the developer in 20C, thankfully I was able to calculate the time and just gave it about three fewer seconds to make it a common time. I continued to be amazed here at the quality of the images, and you even see a greater darkening of the reds here than with D-76. But you do lose some of that razor sharp images that you get with Rodinal, while no surprise, even in D-76 Ortho 25 is super-sharp, but in TMax Developer, they’re a little softer, not by much but enough to make them rather pleasing.

CCR:FRB - Review 10 - Rollei Ortho 25 Plus - Roll 03 (Kodak TMax Developer)CCR:FRB - Review 10 - Rollei Ortho 25 Plus - Roll 03 (Kodak TMax Developer)CCR:FRB - Review 10 - Rollei Ortho 25 Plus - Roll 03 (Kodak TMax Developer)CCR:FRB - Review 10 - Rollei Ortho 25 Plus - Roll 03 (Kodak TMax Developer)

Techincal Details:
Mamiya m645 – Mamiya-Sekor C 45mm 1:2.8 N – Rollei Ortho 25 Plus @ ASA-25
Kodak TMax Developer (1+4) 8:15 @ 20C

Final Thoughts
While it’s impossible to get any grain with a film this slow, I still think your best bet for developing to show off the sharpness and fine-grain nature you want to use Rodinal. I also enjoy the fact that many of the developing times for Ortho 25 are in the six-minute range which isn’t something you see in many films this slow. I’m mostly thinking RPX 25 here. While I can’t see much use for the film myself, it does give another slow film option other than RPX 25 or Ilford Pan F+ something we don’t see that often these days with most companies producing films rated at ASA-100. Ortho 25 is readily available, but only in online shops, Argentix, FreeStyle and Maco Direct.

CCR:FRB – Review 07 – Bergger Pancro 400

CCR:FRB – Review 07 – Bergger Pancro 400

The name Bergger has been until recently been relatively unknown here in North America (at least to me) until recently when I learned that they were planning on introducing a new film stock, Pancro 400. While, Pancro 400 is the only offering from the company, and while you might still find their older BRF400+ film stock, Pancro 400 is a beautiful classic film emulsion. When I heard about the film through the Film Photography Project when they were just releasing the stock, I made a point to pick it up. I found a surprisingly beautiful film, despite the increased amount of grain. I would wager to say, Pancro 400 has the look of the early HP and Tri-X emulsions from Ilford and Kodak respectively.

CCR:FRB - Review 07 - Bergger Pancro 400

Film Specs
Type: Panchromatic B&W
Film Base: Acetate
Film Speed: ASA-400, Latitude: 200-1600
Formats Avaliable: 35mm, 120, Sheets

Roll 01 – Kodak D-76
What better way to develop a classic film than with a classic developer and D-76 does the film justice. You can see the full range of tones and the beautiful grain. While you can see a definite increase the grain for a 400-speed film in medium format, but it’s not as bad as it could be. While I did notice the film is a little more contrasty than it can be, you could probably tame that by cutting to dilution 1+1 or using the slower working D-23.

CCR Review 78 - Mamiya m645CCR Review 78 - Mamiya m645CCR Review 78 - Mamiya m645CCR Review 78 - Mamiya m645

Technical Details:
Mamiya m645 – Mamiya-Sekor C 45mm 1:2.8 N – Bergger Pancro 400 @ ASA-400
Kodak D-76 (Stock) 9:00 @ 20C

Roll 02 – Kodak HC-110
You can see the increased amount of grain that Pancro 400 has when souped in HC-110, but don’t let that scare you because it’s a beautiful grain pattern again. Oddly enough, you don’t see any increase, in contrast, using HC-110, but you do see an increase in the film’s sharpness. I also noticed that you see a darkening in the skies as if I had a yellow filter on the lens, which is a nice touch.

Spike in Blue SkyA Peaceful SceneThe Ultimate BankThe Falls!

Technical Details:
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Bergger Pancro 400 @ ASA-400
Kodak HC-110 Dil. B 9:00 @ 20C

Roll 03 – Kodak TMax Developer
I’m going to come right out and say it, TMax Developer and Pancro 400 is not the best combination. While shooting it in 35mm didn’t help, but the grain is fairly out of control, and the contrast is way too strong, and that’s with using a 1+9 dilution which should tame the contrast in the film. And while I’ve seen TMax do good jobs with classic grained films, it certainly does not do that job with Pancro 400.

CCR:FRB - Review 07 - Bergger Pancro 400 - Roll 03 (TMax Developer)CCR:FRB - Review 07 - Bergger Pancro 400 - Roll 03 (TMax Developer)CCR:FRB - Review 07 - Bergger Pancro 400 - Roll 03 (TMax Developer)CCR:FRB - Review 07 - Bergger Pancro 400 - Roll 03 (TMax Developer)

Techincal Details:
Nikon F5 – AF-S Nikkor 14-24mm 1:2.8G – Bergger Pancro 400 @ ASA-400
Kodak TMax Developer (1+9) 9:00 @ 20C

Roll 04 – Rodinal
You’d think I was crazy for putting a one-stop push and developing in Rodinal, but hey, when you’re reviewing a film, you have to take the good and the bad. But you know, Pancro 400 is a surprising film, even when shot indoors under less-than-ideal lighting conditions. Is the film grainy, yes, but not as much as I would have expected! The tones are rich, the contrast is deep, but the shots are amazing! And they actually look better than the TMax developer and that was shot at box speed.

CCR:FRB - Review 07 - Bergger Pancro 400 - Roll 04 (Rodinal)CCR:FRB - Review 07 - Bergger Pancro 400 - Roll 04 (Rodinal)CCR:FRB - Review 07 - Bergger Pancro 400 - Roll 04 (Rodinal)CCR:FRB - Review 07 - Bergger Pancro 400 - Roll 04 (Rodinal)

Technical Details:
Nikon F90 – AF Nikkor 35mm 1:2D – Bergger Pancro 400 @ ASA-800
Blazinal (1+25) 13:00 @ 20C

Final Thoughts
If you’re looking for a solid option for a classic film that looks like the high-speed films of the mid-twentieth century. Rich tones, contrast and grain, but all in a good way. You get a look at your images like those from the photography of the Second World War. While grainier than most modern films such as HP5+ and Tri-X, it still is a solid option for most photography out there. But I would avoid using TMax developer, especially in the 35mm format and stick with more classic developers like D-76, HC-110, Pyrocat-HD and Rodinal even with a push.

CCR:FRB – Review 06 – Rollei Retro 400s

CCR:FRB – Review 06 – Rollei Retro 400s

I first came across Retro 400s at Downtown Camera, I had just been on a Toronto Film Shooters meetup and had some time to kill before meeting up with a friend to catch a show at the Dakota Tavern and had the hankering for some street photography. So I picked up a roll and went out and I found a wonderfully sharp, contrasty film that just sings in the low hazy light. Retro 400s is a film that is designed for the hybrid era, with a polyester base that lays flat on a scanner, strong contrast and fine grain it will sign viewed on a screen.

CCR:FRB - Review 06 - Rollei Retro 400s

Film Specs
Type: Panchromatic B&W, up to 750nm.
Film Base: Polyester
Film Speed: ASA-400, Latitude: 25-800
Formats Avaliable: 135 & 120

Roll 01 – Kodak D-76
I’m not too sure if it’s the filter or the developer, but Retro 400s is insane in D-76, I mean the images speak for themselves. You get the full effect of the extended red sensitivity of the film stock right here, and that’s only with a pale yellow filter. So another test will have to be done to see if it’s the developer or the filter. Either way, the negs are insanely sharp, and the contrast even without a filter I’m sure would be right on the money. I do think however you might want to pull the film between 320-200 and develop normally.

CCR:FRB - Review 06 - Rollei Retro 400s - Roll 01 (D-76)CCR:FRB - Review 06 - Rollei Retro 400s - Roll 01 (D-76)CCR:FRB - Review 06 - Rollei Retro 400s - Roll 01 (D-76)CCR:FRB - Review 06 - Rollei Retro 400s - Roll 01 (D-76)

Technical Details:
Nikon F5 – AF Nikkor 35mm 1:2D (Yellow-12) – Rollei Retro 400s @ ASA-400
Kodak D-76 (Stock) 10:30 @ 20C

Roll 02 – Rodinal
Probably the one thing that really helped here was the semi-stand developing. Stand-Developing is a technique that is relatively new in my tool-kit and I am usually a little hesitant to developing anything faster than ASA-200 in a sharp developer like Rodinal. But in this case, wow, you can really show off the sharpness and resolution of Retro 400s without a real uptick in the gain. While I would like to try stronger dilutions now, the semi-stand method I think works best, in this case, smoothing out both grain and contrast.

CCR:FRB - Review 06 - Rollei Retro 400s - Roll 02 (Rodinal)CCR:FRB - Review 06 - Rollei Retro 400s - Roll 02 (Rodinal)CCR:FRB - Review 06 - Rollei Retro 400s - Roll 02 (Rodinal)CCR:FRB - Review 06 - Rollei Retro 400s - Roll 02 (Rodinal)

Technical Details:
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Rollei Retro 400s @ ASA-400
Blazinal (1+100) 60:00 @ 20C

Roll 03 – Kodak TMax Developer
Probably not the best choice of developers for this film, my choice made only because I had a little left in the bottle, just enough for one more roll. And while it doesn’t show off the true nature of the film it still remains an okay choice, but certainly not my first. But you still get the sharpness and fine grain of this modern emulsion, there is a certain knock back in contrast but you get clean tones across the board.

TFSM Winter '16 - Real People are More InterestingTFSM Winter '16 - Real People are More InterestingTFSM Winter '16 - Real People are More InterestingTFSM Winter '16 - Real People are More Interesting

Technical Details:
Nikon F5 – AF DC-Nikkor 105mm 1:2D – Rollei Retro 400s @ ASA-400
Kodak TMax Developer (1+4) 9:30 @ 20C

Roll 04 – Kodak HC-110
Usually, when it comes to HC-110 I tend to enjoy how a film reacts to the developer. And while it’s not a bad developer for Retro 400s, I feel that the contrast is just a bit off, not bad, just off. Yes, there’s still a good contrast to the negs and they scan beautifully and looking at the negs there’s enough density that a print is possible and would look amazing! But I also find that there’s a general uptick in grain. It’ll certainly be worth trying a future roll in Dilution F to see if I can’t get a better result as I have with Streetpan.

CCR:FRB - Review 06 - Rollei Retro 400s - Roll 04 (HC-110)CCR:FRB - Review 06 - Rollei Retro 400s - Roll 04 (HC-110)CCR:FRB - Review 06 - Rollei Retro 400s - Roll 04 (HC-110)CCR:FRB - Review 06 - Rollei Retro 400s - Roll 04 (HC-110)

Techincal Details:
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Rollei Retro 400s @ ASA-400
Kodak HC-110 Dil. B 6:30 @ 20C

Final Thoughts
Retro 400s while not a normal part of my film choices is certainly one that I keep on my radar, it works great for street photography and even landscape and with the close to infrared qualities in the film you don’t have to go out and spend the money on true IR films or even the filters to get close to that look on this film. While I feel D-76 does the best job with the film, the other three are all tied for runner-up. If you’re looking for a film that is a little different from your average 400-speed emulsion, Retro 400s is certainly worth a look. Plus Retro 400s is available through most stores online and brick-and-mortar.

This FP4Party is Off the Hook

This FP4Party is Off the Hook

A wizard is never late, nor is he early. He arrives precisely when he means to.

Not to say I’m a wizard or anything, but in the midst of work, paint preparation, and general pandemonium right now I genuinely forgot that there is an FP4Party still going on. Serves me right but a single roll of the stuff sitting on my film to be shot shelf taunted me on the third-to-the-end day of shoot week. Thankfully my original plans for the weekend fell through and I found myself with a free Saturday morning to get out and shoot! Not to mention I had access to a stunning Fuji GSW690ii on loan for a camera review (it’ll be up in March) so it only made sense to use something new and frankly a fun camera to work with. Way back now, when I was just starting to get seriously into Photography one of the places I cut my teeth in learning the more technical aspects of photography was in abandoned buildings and what better city to do this in is Hamilton, Ontario. While the city has seen a major upswing of late in revival I decided what better place to go back and shoot on a grey Saturday morning. Not to mention I had to visit a Disney Store to get some gifts for my wife, and I didn’t want to spend a day in Toronto and Mississauga is…boring.

Twice a LadyEmpire TimesA Hotel for RoyaltyTrain DreamsFacade DreamsCentral PublicTV City

The GSW690ii is an amazing camera, and I won’t get into why until the review is published (it is however written), but the results they speak for themselves! Until next time, fellow partiers!

Technical Details:
All Photos were taken in Hamilton, Ontario, Canada
Fuji GSW690ii – EBC Fujinon-W f=65mm 1:5.6 – Ilford FP4+ @ ASA-125
Blazinal (1+25) 9:00 @ 20C