Tag: film

CCR:FRB – Review 02 – Japan Camera Hunter StreetPan 400

CCR:FRB – Review 02 – Japan Camera Hunter StreetPan 400

A modern re-imaging of an Agfa surveillance stock, StreetPan has been a favourite of mine for some time, and it is incredible in 35mm, but it sings in 120. Back when news of Streetpan first dropped, there were plenty of rumours floating around about the source of the film. Many naysayers said that the supply would be limited as it was just repackaged dead-stock. And while many still rail against the film, I for one enjoy shooting the film, and it’s great for street photography, architecture and landscape. Just don’t shoot it for long exposure, it loves the light and doesn’t handle long exposures.

CCR:FRB - Review 02 - JCH StreetPan 400
The Lowdown
Type: B&W Panchromatic
Film Base: Polyester
Film Speed: ASA-400, Latitude:
Formats Avaliable: 135 (35mm), 120

Roll One – Kodak HC-110
My first experience with shooting and developing Streetpan involved HC-110 and since that first point of pulling the roll of film out of the tank, I know that HC-110 is an ideal developer for the film stock. HC-110 give the contrasty punch the film needs to show off the wonderful contrast and fine grain of Streetpan. But don’t let the nature of HC-110 scare you, the developer brings out all the grey scale the film has to offer. While officially there’s only Dilution B listed on the Streetpan Developing chart, you can adjust the times and dilutions to suit your needs from B, E, even F and G can be done just do the right math to get the proper times.

CCR:FRB - Review 02 - JCH StreetPan 400CCR:FRB - Review 02 - JCH StreetPan 400CCR:FRB - Review 02 - JCH StreetPan 400CCR:FRB - Review 02 - JCH StreetPan 400

Technical Details:
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – JCH Streetpan 400 @ ASA-400
Kodak HC-110 Dil. E 7:30 @ 20C

Roll Two – Kodak TMax Developer
I first turned to using TMax Developer with Streetpan by fellow film photographer and friend Ori. While hesitant at this, I programmed the time into the Massive Dev Chart App. Sadly I never got around to using it. While some might question using a t-grain developer on a film based on a classic emulsion, I am rather impressed! While you don’t gain or lose anything by using the developer I can say having another option for a less than ten minute developing time for this film is a good thing. It knocks the contrast back a bit, but you don’t lose the sharp, fine grain attributes the film. Certainly a good option for developing Streetpan!

CCR:FRB - Review 02 - JCH StreetPan 400CCR:FRB - Review 02 - JCH StreetPan 400CCR:FRB - Review 02 - JCH StreetPan 400CCR:FRB - Review 02 - JCH StreetPan 400

Technical Details:
Mamiya m645 – Mamiya-Sekor C 35mm 1:3.5 N – JCH Streetpan 400 @ ASA-400
Kodak TMax Developer (1+4) 9:00 @ 20C

Roll Three – Kodak D-76
While initially unsure about this combination as the negatives were dark coming out of the tank. Of course, I soon realised that this is something that does happen with Streetpan, especially with the Dilution B times of HC-110. I would leave my final judgement until after the scan. While not my favourite developer with this film, D-76 doesn’t do a bad job, you still get the rich contrast the film is known for and gives a beautiful chrome look to it, yet the grain is a bit more noticeable. Still, it does a good job. However, I’d give an extra 30 seconds to help bring out the shadows a bit more. Or the meter on my Rolleiflex might finally be starting to die.

CCR:FRB - Review 02 - JCH StreetPan 400 - Roll 03 (Kodak D-76)CCR:FRB - Review 02 - JCH StreetPan 400 - Roll 03 (Kodak D-76)CCR:FRB - Review 02 - JCH StreetPan 400 - Roll 03 (Kodak D-76)CCR:FRB - Review 02 - JCH StreetPan 400 - Roll 03 (Kodak D-76)

Techincal Details:
Rolleiflex 2.8F – Carl Zeiss Planar 80mm 1:2.8 – JCH Streetpan 400 @ ASA-400
Kodak D-76 (1+1) 10:30 @ 20C

Roll Four – Rodinal
Rodinal is one developer that I have given up on in the past and returned to once again and this second time around I’ve found that there is a lot that it can do. And when it comes to Streetpan, it is equal in my books to HC-110 for souping this film. Despite being a 400-speed film, you don’t notice any real uptick in grain, and the contrast is spot on, if not slightly better than HC-110. It doesn’t matter if you use 1+25 or 1+50, there is little difference in the negative, save slightly less contrast with the lower dilution.

CCR:FRB - Review 02 - JCH StreetPan 400 - Roll 04 (Rodinal)CCR:FRB - Review 02 - JCH StreetPan 400 - Roll 04 (Rodinal)CCR:FRB - Review 02 - JCH StreetPan 400 - Roll 04 (Rodinal)CCR:FRB - Review 02 - JCH StreetPan 400 - Roll 04 (Rodinal)

Technical Details:
Rolleiflex 2.8F – Carl Zeiss Planar 80mm 1:2.8 – JCH Streetpan 400 @ ASA-400
Blazinal (1+25) 10:30 @ 20C

Final Thoughts
Streetpan is a black & white film for this hybrid era, the polyester base lies flat on your scanner, and the range of this film lets you pull out incredible detail in a digital editor. How well this film prints in a traditional darkroom I have yet to determine but I hope to let you know soon. Personally, my choice of developers are HC-110 (especially dilution F), Rodinal, and TMax Developer. While I haven’t tried the film in something like Pyrocat-HD or D-23, I feel the film would respond well to Pyro. Good thing I have two rolls left for experimentation. For outdoor shooting, this film is beautiful because it loves the light. I have tried it indoors with poor results. It might have something to do with the unknown reciprocity failure variable or the increased red sensitivity inherent in the film. But for photographers who do a lot of outdoor portrait work and street photography, Streetpan is something new and different.

CCR:FRB – Review 01 – Kosmo Foto Mono 100

CCR:FRB – Review 01 – Kosmo Foto Mono 100

At your first glance, you see this Soviet Styled space-age packaging, and you know you’re in for a treat. Mono 100 is the new player on the block, a Panchromatic ASA-100 speed B&W Film. When I first learned that Kosmo Foto was working towards releasing a brand new film I jumped. While the Soviet-styled look will draw you in, the contents of the film itself will make you want to shoot more and more of the film stock.

CCR:FRB - Review 01 - Kosmo Foto Mono 100

The Lowdown
Type: B&W Panchromatic
Film Base: Acetate
Film Speed: ASA-100, Latitude: ASA-50 to ASA-400
Formats Avaliable: 135 (35mm)

Roll 1 – Rodinal
Before I start, I’ll have to confess I went completely off spec for this first roll of film. The trouble, at least for me was, it’s been drummed into my head that you get poor results for developing times less than five minutes (well I did soup Tri-X in HC-110 Dil. B for 4.5 minutes for many years before switching). So when the chart for Mono 100 noted the Rodinal time was 3.5 minutes for 1+25 dilution my brain screamed at me. I then sat down, did a bit of math, looked at another ASA-100 film and decided to use a 1+50 dilution, double the time and add thirty seconds. I honestly did not expect it to work, but it did. As for the results, well they speak for themselves. Mono 100 has rich tones across the spectrum, incredibly fine grain, something I wasn’t expecting.

CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 01 (Rodinal)CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 01 (Rodinal)CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 01 (Rodinal)CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 01 (Rodinal)CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 01 (Rodinal)

Technical Details:
Nikon F5 – AF Nikkor 50mm 1:1.4D – Kosmo Foto Mono 100 @ ASA-100
Blazinal (1+50) 7:30 @ 20C

Roll 2 – Kodak D-76
I never thought I would say this, but Mono 100 sings in D-76, I was again surprised at the short time for a diluted D-76, but in this case, the time is spot on. Not to mention D-76 shows off exactly what Mono 100 can do, smooth beautiful tones, and makes the world look right, the perfect monochromatic image. Especially with a deep yellow filter in front of the lens. There is some noticeable grain, but nothing that isn’t too bad.

CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 02 (Kodak D-76)CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 02 (Kodak D-76)CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 02 (Kodak D-76)CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 02 (Kodak D-76)

Technical Details:
Nikon F90 – AF Nikkor 35mm 1:2D (Yellow-15) – Kosmo Foto Mono 100 @ ASA-100
Kodak D-76 (1+1) 9:00 @ 20C

Roll 3 – Kodak TMax Developer
And the hits just keep on coming, Mono 100 responded perfectly to TMax Developer. As a developer, TMax and I have a hit-and-miss relationship. When I like it, I like it, when I don’t, I sort of use up the rest of the bottle reluctantly and then let it be for months. But in light of doing all these film reviews, it seemed only fair to give it a go. While I noticed a drop in contrast and a bit more of an uptick in grain it really is not a bad pairing.

CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 03 (TMax Developer)CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 03 (TMax Developer)CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 03 (TMax Developer)CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 03 (TMax Developer)

Techincal Details:
Contax G2 – Carl Zeiss Planar 2/45 T* – Kosmo Foto Mono 100 @ ASA-100
Kodak TMax Developer (1+4) 5:30 @ 20C

Final Thoughts
When it comes to new films these days I am a bit wary. When I first learned about Mono 100 I figured we’d get a polyester base grain fest. Of course, that is not the case, I’m not knocking polyester based films they just can be a bit hard to handle. The film reminds me of how Svema Foto 200 handles, with smooth realistic tones, excellent response to contrast filters and just makes the world look right. While I’m still not sold on a 3.5 minute time in Rodinal 1+25, I’m sure it turns out fine, just be ready with that stop bath! But for me the one thing I see as a problem is the lack of HC-110 times, in fact, you are dissuaded from using HC-110 with the film. Of course, if I had a couple more rolls I’d be souping it in Dilution B just to see what happens. But if I were to give two solid developers for Mono 100 I would say Rodinal and D-76 are the clear winners.

CCR Review 78 – Mamiya m645

CCR Review 78 – Mamiya m645

There are many cameras out there that hold iconic status, others that carry a cult status, however, when it comes to the Mamiya m645 the camera holds neither but remains an essential camera to many a wedding photography. The m645 is a workhorse, designed to take a beating and keep on getting photos, and there’s a strong chance that if you got married when medium format was king of the wedding market, or you’re of a certain age where school photos were still taken on film the m645 was the camera in the hand of the photographer. And while the m645 has evolved and changed over time many originals are even shooting strong.

CCR Review 78 - Mamiya m645
The Dirt
Make: Mamiya
Model: m645
Type: Single Lens Reflex
Format: Medium Format, 120/220, 6×4.5
Lens: Interchangeable, Mamiya m645 mount
Year of Manufacture: 1975

CCR Review 78 - Mamiya m645CCR Review 78 - Mamiya m645

The Good
As a camera, the m645 is compact robust and easily operated in any situation. Without a grip, the camera can be carried in almost any camera bag without too much trouble. A side grip or motor drive will make it wider but doesn’t do much to add any weight. The controls are well laid out and are easy to operate with either an eye-level (ELF) or waist-level (WLF) finder. As a bonus, if you are using a WLF a secondary shutter release on the top of the body makes it easy to release the shutter. Even without a grip using an ELF the controls are easy to find and operate, but adding a grip (such as the Deluxe L-Grip) does make life a touch easier. The optical quality of the glass is decent, it’s no Carl Zeiss, but they aren’t too bad, the 35mm ultra-wide is soft at the corners, but the 150mm and 45mm are excellent lenses to get. However, the crown jewel is the 80mm f/1.9 a lens that is fairly magic. As for the cost of getting into the m645 system, it’s fairly inexpensive as there are plenty in good working order, but the best part is the cost of the lenses most of the optics are decently priced most under 100 dollars, of course, the 80 f/1.9 does carry a higher price tag as does the WLF accessory. The best part about the camera, however, is how easily it operates in the winter, I can easily shoot and operate the controls even with gloves on. Which, as someone who lives in Canada, is a big deal, even the electronic nature of the camera doesn’t seem affected by the deep freeze we’re currently under.

CCR Review 78 - Mamiya m645CCR Review 78 - Mamiya m645

The Bad
The big issue with the camera is age, the m645 is from the mid-1970s and is electronic. While you may never have an issue, if something does go wrong, finding someone to repair them could be difficult, and it does use a non-standard battery to power everything. If you’re on an extended trip, you might need to carry a spare and be sure to get the silver-oxide version of the battery as it lasts just that big longer though alkaline does work. The second biggest issue with the camera is the lack of a leaf shutter, though it may have helped keep the price of the lenses down having a fixed shutter speed of 1/60 for flash sync would be a hindrance for operating the camera with strobes. The biggest issue in my case is two-fold, the first is the lack of hot-swappable film backs, like the Pentax 645, the m645 uses a film insert. As a result, you cannot switch part way through which could be a problem for wedding photographers, and the second is that because of this you only get 15 shots per roll of 120. Both these issues were resolved in the next version of the camera.

CCR Review 78 - Mamiya m645CCR Review 78 - Mamiya m645

The Lowdown
The m645 is a polarising camera among photographers there are those who love them, and there are those who hate them. You’ll find both in many photography groups on Facebook. Because if a person is looking for an inexpensive way to get into Medium Format, many out there will roll out the parade for the m645 and immediately get flamed by those who dislike the format. I am neither of these, taking a firm middle-of-the-road grasp rather on the camera. If you have a chance to get an m645 go for it, but be warned, like that old Police Interceptor Crown Victoria the camera like the car probably saw heavy using in a previous life. I would not blindly go into purchasing the camera through eBay; you certainly want to have it looked over first and ensure it works especially the lens. The 80mm f/2.8 does have issues with oil on the blades and the aperture spring, at least you can get a new one for a low cost. Another note on the optics, stick to the newer lenses, those marked with N. I do have a good recommendation for the m645; it is a solid, inexpensive, decent quality camera to explore the world of medium format, just be a little cautious and make sure there are no major issues before you pay.

All Photos Taken in Belfountain, Ontario
Mamiya m645 – Mamiya-Sekor C 45mm 1:2.8 N – Bergger Pancro 400 @ ASA-400
Kodak D-76 (Stock) 9:00 @ 20C

Classic Camera Revival – Episode 35 – Seeing Red

Classic Camera Revival – Episode 35 – Seeing Red

ccr-logo-leaf

While we mostly focus on cameras on our podcast, with the weather reports speaking to a classic Canadian winter it might be time for the whole gang to settle into some solid printing time in the darkroom. So to get us and you ready the gang speaks on everything darkroom that’ll have you seeing red (under your safelight). Enlargers, chemicals, papers and more. Sorry, no detailed episode notes for this show. But here are some of the items discussed.

Durst M601 – A solid enlarger that has a built-in film carrier with adjustable masks that work great for 35mm up to 6×6.

Leitz V35AF – One of the hardest things with making prints is focusing! Well, you don’t have to worry about it with this enlarger, but you’ll be stuck with 35mm only.

For paper and chemistry, the gang has printed on almost everything out there. For the most part, we do stick to the most common and readily available from Ilford, their Multigrade papers are a great place to start. But other papers we’ve used include Adox, Kentmere, Kodak, and even Foma with beautiful results. As for chemistry, most of us stick to Kodak Dektol and usual tone with Selenium.

Griffin's Battery - Print Griffen Battery at Ghettysburg – Printed on Ilford MGIV RC Satin – Kodak Dektol (1+2) 1:00, Toned with Selenium (1+4) 2:30

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). Out West there’s 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.

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

That Film Camera Won’t Make You a Better Photographer

That Film Camera Won’t Make You a Better Photographer

That old film camera sitting up in your father’s closet, or in your grandfather’s dresser won’t make you a better photographer. It’s like a gas range won’t make you a better chef or a fountain pen improving your handwriting. These are things; a thing cannot make you better than you already are. In fact, they might even exacerbate the mistakes you make. Sure, using these might help you eventually, but there’s only one thing that will make you a better photographer, yourself.

400TX:365 - Week 52 - All's Quiet on Christmas Day

I’ve seen of late and even posted articles about these photographers who laud the film camera and how by only picking it up makes them a better photographer. As someone who started off my journey in photography with a film camera, I can tell you, a film camera does not make you a better photographer. I started off with a fixed lens rangefinder, a great camera for a beginner. And you know I got to know that camera rather well, and by the last time I shot the camera before passing it off to a new owner, I was producing good images with it. But it wasn’t the camera that made me a better photographer.

CCR - Review 8 - Minolta Hi-Matic 7s

CCR - Review 8 - Minolta Hi-Matic 7s

About a year (or so I can’t remember) I picked up my first SLR, and it was all move over Ansel Adams. And in my first roll shot through the SRT-102 I got a single, good image. And looking back, even that image wasn’t that good. But if you think about it even the greats that we all laud today started off with a huge trash bin of failure. So if you think that film camera will make you a better photographer by simply shooting with it, repeat after me, no single piece of equipment will make you better. And that counts for everything. So I did what I should have done much earlier. I put down the camera, and I picked up a book, and I learned, and I practised. When I started shooting with a DSLR with flash my first photos were terrible, there were shadows; everything was in focus rather than isolating my subject. But at the time (2007) I didn’t know any of it. I would just shoot and hope the pray. A year later I had figured out how to defuse my flash, use a short telephoto, and use a shallow depth of field. And buying the flash diffuser and the 85mm lens didn’t make it automatic. I had to learn it first and practice it second.

Spoon

Mis

As I said a camera is a tool. An SLR won’t make you instantly learn composition, that 10,000$ Leica won’t make you a top-notch street shooter. Now don’t get me wrong these are fantastic tools to help you along the way but you need to still put them down every so often and pick up a book or read an article on something then put it into practice. Because even with the best camera in the world you can still create a bad photograph. There has only once where better gear helped me, but more important was knowing how to compose the image to better show off the scale of the abandoned power plant R.L. Hearn. Originally I used a Minolta SuperZoom camera, while the second time I shot the same scene I had an ultrawide angle lens on an SLR.

Look Up

i remember you

So by all means, put down your digital camera and pick up that dusty old manual mechanical camera. But please don’t wax poetic and delude yourself into thinking it will make you a better photographer just because of what it is. Because if you don’t make yourself a better one through practice, learning, and failure. Your photos will still suck even with a film camera, and your wallet may hurt more because of it. Shoot film because you want to, not because you feel it will make you better. It won’t, only one thing will make you better. You.

One More Time – Efke Film

One More Time – Efke Film

If you’ve been doing the film photography thing for some time now, you’ll have heard about a classic film emulsion, that is Efke. Efke, a brand name of the film from the Croatian firm, Fotokemika, is a silver rich panchromatic film that gives any images a classic look. This classic look is because the film using a traditional grain structure has a high silver content, and only uses a single emulsion layer. Sadly, when Fotokemika closed their doors due to the age of their equipment and the cost of continuing to maintain the machines, it not only killed the Efke line of films but Adox as well. And while Adox bounced back and still supports a decent number of film stocks such as CHS 100 II and CMS 20 II, Efke has remained buried. And while you can’t buy new stock Efke, a gentleman in Croatia happened across a warehouse worth of Efke 100 film in 35mm and began selling it on eBay. I jumped on this and bought a brick. Of course, I’m not one to horde film or save it for a rainy day.

Product Highlights

  • Type: Panchromatic B&W Film
  • Base: Polyester
  • Film Speed: ASA-100
  • Formats Avaliable: 35mm/127/120/Sheet

This ain't no Baywatch
Nikon FA – AI-S Nikkor 50mm 1:1.4 (Yellow-15) – Efke KB 100 @ ASA-100
Pyrocat-HD (2+2+100) 8:00 @ 20C

When you could buy Efke films at your usual photographic supply stores, I tended to stay away from the 100-speed stock, going instead with the 50 and 25-speed films. In fact, I shot my final rolls of Efke 50 through 2015 to 2016; I even got a chance to shoot Efke 25 in 4×5 format having secured a short box from Burlington Camera’s Film Fridge. Now looking back through my Flickr search, Efke was a mainstay of my film fridge for a good seven years.

CCR Review 64 - Kodak Pony 135 Model C
Kodak Pony 135 Model C – Kodak Anaston Lens 44mm ƒ/3.5 – Efke KB 100 @ ASA-100
Kodak HC-110 Dil. B 5:30 @ 20C

When I had shot that final roll in March of 2016, I figured that was it! Fotokemika had shut down, Adox had begun to produce their film stock. Then, at the Winter 2017 Toronto Film Shooters Meetup, James Lee mentioned he had come across an eBay auction, the auction I referred to in my first paragraph. The game was afoot! Several folks around the table immediately upon returning home put in their orders. And sure enough, a couple of weeks later this well-wrapped package of film arrived from Croatia.

Let Fly!
Nikon F5 – AF-S Nikkor 70-200mm 1:2.8G VR – Efke KB100 @ ASA-100
Blazinal (1+50) 10:00 @ 20C

There is still enough information out there to develop the film, with most people going for Rodinal or HC-110 as their soup of choice. And yes Efke looks excellent in both those options, but I wanted to try something different. The one thing I was a little surprised that nowhere did I find a developing time for my favourite Kodak developer next to HC-110 that is D-23. There are D-76 times, so I had that at least as a base. A quick search online landed me back on the APUG site and found a thread with the exact question I was asking. After much consideration, I landed on seven minutes, forty-five seconds. It worked, and I was fairly pleased with the results.

Oh that Swirl
Nikon F5 – Lomography Achromat 64mm/2.9 (Orange-22) – Efke KB100 @ ASA-100
Kodak D-23 (Stock) 7:45 @ 20C

There is still more to go through; I gave Pyrocat-HD a try being my favourite developer period. PMK Pyro worked magic on Efke 25 and Efke 50, I wasn’t too much a fan of Ekfe 100 in Pyrocat-HD. If you are planning on giving Efke a try or happened across a brick of the stock, this isn’t a film for someone who is used to modern film. You will get more grain on this film that you would on Ilford FP4+.

Clean Lines
Nikon FA – AI-S Nikkor 35mm 1:2.8 (Yellow-12) – Efke KB 100 @ ASA-100
Blazinal (1+25) 6:00 @ 20C

If you do happen to enjoy this look, I know I do in certain situations like re-enactments or gritty street photography work; then you don’t have to fret too much. While Efke is gone, there’s still plenty of film stocks out there that can provide you with a similar look. There’s Adox CHS 100 II, I’ve shot this film only in 4×5 sheets and think it’s a beautiful film stock, and being 4×5 and while I haven’t picked up any 35mm stock I just may have to. But probably your best bet is to look at Fomapan 100, this film is a recent addition to my tool kit and provides a beautiful classic look especially souped in Rodinal and D-23.

Classic Camera Revival – Episode 29 – Clan O’Canon

Classic Camera Revival – Episode 29 – Clan O’Canon

ccr-logo-leaf

So it seems that our hosts don’t shoot much in the way of Canon cameras, but we do have a decent selection not to mention the full lineup of the professional Canon F-1 cameras!

Cameras Featured on Today’s Episode

Canon F-1 – The F-1 was the direct answer to the Nikon F2. This professional system camera also introduced the famous Canon FD mount and remained fairly similar; there was a slight upgrade in 1976 with the Canon F-1n that made some minor changes both to the operation and cosmetics.

Classic Camera Revival - Episode 29 - Clan O'Canon

  • Make: Canon
  • Model: F-1
  • Type: Single Lens Reflex
  • Format: 135/35mm, 36x24mm
  • Lens: Interchangable, Canon FD Mount
  • Year of Manufacture: 1970, 1976 (F-1n)

Cleveland - Downtown
Canon F-1 – Canon Lens FD 28mm 1:2.8 – Fuji Neopan SS @ ASA-100 – Kodak Xtol (1+1)

Scan-131002-0001
Canon F-1n – Canon Lens FD 28mm 1:2.8 – Fuji Pro 400H

Scan-131002-0008
Canon F-1n – Canon Lens FD 28mm 1:2.8 – Fuji Pro 400H

Canon F-1N – The Canon F-1N is a full upgrade to the classic F-1, with a new prism, and plenty of bells and whistles that kept the old pro camera running until the introduction of the Autofocus EOS system.

Classic Camera Revival - Episode 29 - Clan O'Canon

  • Make: Canon
  • Model: F-1N
  • Type: Single Lens Reflex
  • Format: 135/35mm, 36x24mm
  • Lens: Interchangable, Canon FD Mount
  • Year of Manufacture: 1986

Scan-140530-0007
Canon F-1N – Canon Lens FD 28mm 1:2.8 – Ilford HP5+ – Kodak HC-110 Dil. B

The Local Arriving
Canon F-1N – Canon Lens FD 28mm 1:2.8 – ORWO UN54+ – Kodak Xtol (1+1)

Davisville Yards I
Canon F-1N – Canon Lens FD 50mm 1:1.4 SSC – Ilford HP5+ – Kodak HC-110 Dil. B

Canon FTb – The FTb is a favourite around the table, a mechanical beauty with the amazing QL (Quick Load) system that the team is surprised never made it into other Canon Cameras, especially the professional F-1 series.

Classic Camera Revival - Episode 29 - Clan O'Canon

  • Make: Canon
  • Model: FTb
  • Type: Single Lens Reflex
  • Format: 135/35mm, 36x24mm
  • Lens: Interchangable, Canon FD Mount
  • Year of Manufacture: 1971

Not Open yet.
Canon FTb – Canon FD Lens 50mm 1:1.4 – Fuji Pro 400H

CCR Review 59 - Canon FTb
Canon FTb – Canon FD Lens 50mm 1:1.8 – ORWO UN54 @ ASA-100 – Kodak HC-110 Dil. A 7:30 @ 20C

Snowbench
Canon FTb – Canon FD Lens 50mm 1:1.4 – Kodak ColorPlus 200 @ ASA-200

Canon EOS A-2 – The only EOS camera on the show the A-2 looks more like it was designed by Minolta then Canon. But don’t let that fool you, this is no entry level camera, the A-2 is a direct successor to the FD Mount A-1 series and aims more at the Advanced Amateur or Prosumer market.

Classic Camera Revival - Episode 29 - Clan O'Canon

  • Make: Canon
  • Model: EOS A-2
  • Type: Single Lens Reflex
  • Format: 135/35mm, 36x24mm
  • Lens: Interchangable, Canon EF Mount
  • Year of Manufacture: 1992-2000

CCR - EOS A2
Canon EOS A2 – Canon EF 28-105mm 1:3.5-4.5 – Kodak TMAX 100 – SPUR HRX (1+19) 12:30

CCR - Canon Cast - EOSA2
Canon EOS A2 – Canon EF 28-105mm 1:3.5-4.5 – Kodak TMAX 100 – SPUR HRX (1+19) 12:30

CCR - Canon Cast - EOSA2
Canon EOS A2 – Canon EF 28-105mm 1:3.5-4.5 – Kodak TMAX 100 – SPUR HRX (1+19) 12:30

Looking for a good spot to get your gear and material fix…check out Burlington Camera, Downtown Camera, Film Plus, Belle Arte Camera and Camtech, if you’re in the GTA region of Ontario. In Guelph there’s Pond’s FotoSource For those further north you can visit Foto Art Camera in Owen Sound. On the West Coast (British Columbia) check out Beau Photo Supply. Additionally you can order online at Argentix (Quebec), buyfilm.ca (Ontario), the Film Photography Project or Freestyle Photographic.

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

Film Review – Fomapan 100

Film Review – Fomapan 100

With my film photography, I have had limited experience with the Fomapan products. I’ve shot Fomapan 200 with okay results and the surveillance variant of Fomapan 200 available through the Film Photography Project with much better results. I’ve tried Fomapan 400 in sheet film and got no results. But after seeing some amazing work with Fomapan 100, I decided to pick up four rolls in 120 from Argentix.ca to give it a try. I certainly found the film pleasing to work with, a classic response with the four different developers I worked with over the course of shooting the film in several different situations.

Product Highlights

  • Type: Panchromatic Black & White Film
  • Base: Format Dependent (120/4×5 – Clear Polyester (PE), 135 – Cellilous Triacetate)
  • Film Speed: ASA-100, with a latitude between ASA-50 to ASA-400
  • Formats Avaliable: 135, 120, and Large Format

Rusted Out
Hasselblad 500c – Carl Zeiss Distagon 50mm 1:4 – Fomapan 100 @ ASA-100 – Blazinal (1+50) 9:00 @ 20C

Opposing Doors
Hasselblad 500c – Carl Zeiss Distagon 50mm 1:4 – Fomapan 100 @ ASA-100 – Blazinal (1+50) 9:00 @ 20C

The number one good thing about Fomapan films is the cost; these are very inexpensive films to shoot which makes them a great film to start with if you’re learning to develop your own black & white film. But if you want the best bang for your buck, Fomapan 100 is the film of choice. And don’t think you’re getting a cheap film, Foma 100 is one of the nicest mid-speed films I’ve ever used. It has almost a classic look and film, like the films of the mid-twentieth century, great if you want to shoot World War Two reenactments on film.

Summit
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Fomapan 100 @ ASA-100 – Pyrocat-HD (1+1+100) 12:00 @ 20C

Grab a Pint?
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Fomapan 100 @ ASA-100 – Pyrocat-HD (1+1+100) 12:00 @ 20C

The developers I used for the review are as follows, Rodinal, Kodak D-23, Pyrocat-HD, and Kodak HC-110. It was Rodinal that brought out that classic look and feel, while slightly more grain than you’d expect in an ASA-100 film, but nothing too serious. I saw a reduction in grain using Pyrocat-HD, but I felt that the film came out of the tank slightly under-developed, so it either needs about thirty seconds more in the developer or slightly warmer water, maybe 1-2 degrees hotter. Kodak D-23 is another winner, a bit grainer but brought out the tonality of the film and continues that same classic look that you get with Rodinal. I was also fairly pleased with the results of HC-110 Dilution H, kept the contrast on mark, and surprisingly the grain was hardly noticeable. My final say is that Rodinal is the best developer for this film as it gives you the shortest standard developing times with the best results and can easily be done in the field as you can just use water for your stop bath. I say standard developing times as Dilution B and A of HC-110 has shorter developing times but requires constant agitation.

TFSM - Spring '17
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Fomapan 100 @ ASA-100 – Kodak D-23 (Stock) 10:00 @ 20C

TFSM - Spring '17
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Fomapan 100 @ ASA-100 – Kodak D-23 (Stock) 10:00 @ 20C

Of course, no film is without fault. While many may target the film’s polyester base, it is not much of an issue. In Medium format, the PE base handles well and easily mounted onto the plastic reels of the Patterson system and will probably handle just as well on steel. No the biggest issue I have with Foma 100 is the long developing time. Most times are around the 10-minute mark, while not much of a slight against the product just a minor annoyance. Thankfully the Rodinal time is under the 10-minute mark. I mostly say this because often we do marathon developing sessions and working late into the night is tough because as you get tired, you’re more likely to make a mistake.

A Walk In the Park
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Fomapan 100 @ ASA-100 – Kodak HC-110 Dil. H 10:00 @ 20C

A Walk In the Park
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Fomapan 100 @ ASA-100 – Kodak HC-110 Dil. H 10:00 @ 20C

My final word on the film, it’s certainly worth a shot if you’re on a budget or just learning. You can pick this up for under six dollars a roll (Canadian). And if you’re shooting the film in 4×5, you’re looking at a buck a sheet, only Arista.EDU and X-Ray film is cheaper. It’s also good if you want that classic look-and-feel that you often saw with Adox and Efke films, it works well in daylight and shadow and just sings in the right developer. I hope to pick up some of the 35mm version and see if there’s any difference between the two formats.

Photo Notebook Show Down

Photo Notebook Show Down

For anyone who shoots a large volume of film and doesn’t always process it right away or sends it off to get processed. It can be difficult to retain a lot of the details in your head. So when I began to send film away to the awesome folks at Old School Photolab and The Darkroom. I needed something to record the date, camera, location, lens, film, and any other details that I may need for when I posted the images. I started carrying around a simple notebook and pen to record all this in. It worked! When I started shooting large format, I would also record the exposure information. I would then transfer the information into a spreadsheet, with additional information such as processing and where I stored the negatives. But there weren’t any dedicated notebooks on the market specifically for film photography. But in 2016 two dedicated photo notebooks entered the market and it’s those notebooks I’m going to talk about today.


(L-R): TWSBI Diamond 580 (for scale)k, The Galaxy Handbook, The Photomemo Book, and my normal notebook.

Galaxy Photographer’s Planer and Handbook (GPP&H)
The Galaxy notebook was a highly anticipated notebook from the folks at Galaxy who brought us a high speed direct positive photographic paper. The journal is based on one used by photographer George Murray Levick during the Terra Nova Expedition. The GPP&H is a beautiful journal, well made, leatherette cover, ribbon bookmark, and an elastic to hold it closed. The paper is heavy weight and holds ink well without any feathering (what happens when the ink spreads into other fibers of the paper). The paper texture is smooth making it easy to write on. Inside the book, you’ll find a wealth of information for almost everything related to photography. Exposure information, the Sunny-16 Rule, Online Resources, there’s even a pile of film and paper developer formulas. There’s also a calendar and plenty of space for your photography logs; this is where the book fails. While this keeps the book fairly thick, it isn’t too bad to carry around in your camera bag or even a pocket.


The large format log sheet, lots of space for all the gritty details of shooting LF. Most of which I don’t use.

The simple fact is that the GPP&H tries too hard. Is it a planner, Handbook, or journal? Well, it attempts to be all three and loses out because of that. The book contains a full history of the journal and its design, a pile of key dates, calendar, exposure logs, location scouting, and blank note space. It’s all well and good, but seriously it’s a bit overloaded when all I want in such a book is to record the film I’ve shot. The first of these logs is the Ansel Adams’ designed “Exposure Record” I can’t make heads or tails of these sheets. I know they have something to do with the zone system, but not knowing much about that system, beyond how I apply it (Shadows in Zone IV, thanks, Mat!). Next up is the Large Format records, these are my favourite part of the book. I pretty much have everything here that I usually would record and then some, the only thing missing is a spot to record any camera movements. The roll film section just asks too much information that I simply do not record such as lens and exposure data. So these sections just are a waste of space, to be honest. Also, the notebook states that it’s for all types of roll film yet there are only 12 spots per page, which means you’ll have to take over several pages per roll and heaven forbid you’re shooting half-frame on a 36 exposure roll. The area for darkroom prints is pretty handy, and I’ll probably give that some love when I get back into the darkroom printing. The location scouting section is well laid out also giving you plenty of space to make notes on spots you come across in your travels, and I’ll certainly use it to keep notes for future shoots and walks.


The Roll film log sheets, you only get twelve shots per page, and I just wrote a single roll on each line./em>

Despite some added bulk, the GPP&H isn’t a bad notebook; it just tries too hard. And with the calendar element to it, you loose out because once the year ends, two whole sections of the journal can no longer see use. And while I probably won’t be using it on a regular basis as one that comes with me on trips, it will have a spot on my shelf for various other uses like the formulas and journalling locations and darkroom prints.


A comparison of thickness between the two

Shot Film Co. PhotoMemo (SFPM)
If the GPP&H is the Moleskine, then the SFPM is the Field Notes of the Photography Notebook world. The SFPM does not try to be anything other than a practical book that does one thing and one thing only, record notes on roll film. But don’t let the small thin size scare you off, I don’t call it similar to Field Notes for nothing. This one is tough, having used several Field Notes books in the past this thing can take a beating. Inside you’ll find smooth paper, that is nominally thick and can hold pen ink well, and I’m talking fountain pen here. There is a small amount of feathering and some bleed through but nothing to cause me alarm.


A close up of the ink on the page, you can start to see some of the feathering from the ink

While the SFPM doesn’t try to be anything more than a book to record roll film notes, It does suffer the same problem as the GPP&H on the log pages; there’s way too much space for what I record, so I end up only using the top sections and recording some additional notes below. Which makes me feel bad that I’m wasting such a great notebook. But if you do record everything about every frame you shoot than there’s plenty of space for around 35 exposures per record. Honestly, if you don’t like drawing up your notes in a simple notebook, the SFPM is the book I would personally recommend, especially if you take a pile of notes on each roll. While smaller than the GPP&H you certainly have more space to record details in the PhotoMemo.


While the SFPM book gives you more room, I still only use the top section.

To be perfectly honest, I don’t think I’ll be using either notebook in any substantial capacity in the field. I’ve come to realize that I only record the necessary information when I’m in the field and my simple reporter style notebook is enough for me plus I can always fill in the gaps when I go to enter the data into the Excel spreadsheet. But if you’re the type who likes a dedicated notebook you can pick up both items online, The Galaxy Photographer’s Planer and Handbook from B&H and the PhotoMemo directly from Shoot Film Co. And to close I would like to give big thanks to Shoot Film Co. who graciously donated their PhotoMemo book to me for this review.

Film Review – Japan Camera Hunter Streetpan 400

Film Review – Japan Camera Hunter Streetpan 400

So I’ve managed to shoot through my brick of JCH Streetpan 400 film and feel I’m good to begin writing an in-depth review of the film. I’m going to start off with saying that this is a fantastic film! Well worth the time and effort that Bellamy has put into researching, marketing, and tweaking to suit his amazing photography and now has taken the bold step in bringing it to the rest of us. You will have probably heard a lot of negative press related to this film, even recently someone put a comment on one of my Streetpan images to a video review of the film that stated that it was an old Agfa stock that Bellamy found a core roll of and just spooled and repacked. Well, I just can’t believe that, because the film edges are branded, and there’s a current expiry date on them, and from all my interactions with Bellamy, he’s not to type to pull the wool over the eyes of thousands. I’m glad I went ahead and invested in this film early. These days we hear too much about film stocks cut, but 2016 has been a great year for film, Rollei, Kodak, and Ilford all holding steady with their commitments to maintain traditional stocks, and the continued promise of Ferrania pulling out a new E-6 film. Streetpan, it was a bonus, an excellent bonus!

Product Highlights

  • Type: B&W Panchromatic up to 750nm
  • Base: Polyester (0.10 mm)
  • Film Speed: ASA-400
  • Formats Available: 35mm

So now that we’ve gotten the dirt taken care of let’s dig in. I decided to approach this review a little differently that my other reviews have been because it’s a film, not a camera it changes depending on how you develop it. Using my trusty Nikon F5 to make sure the film was being exposed with the same meter with every roll I set about using the developers I had access to and the times listed on the box.

Kodak HC-110
My first experience with Streetpan 400 was under cloudy conditions and developed in HC-110 Dil. B. I was hooked right off the bat with this combo. The contrast is dead on, the extended red sensitivity shows up by cutting through the haze that was 5000% humidity. For a 400 speed film paired with HC-110, the grain looks like something from a 100 or 200-speed film even when scanned. What makes this combo shine is the contrast, not too harsh, not too soft. You have blacks and white complete with mid tones across the spectrum.

TFSM - Summer '16
Nikon F5 – AF DC-Nikkor 105mm 1:2D – Japan Camera Hunter Streetpan 400 @ ASA-400 – Kodak HC-110 Dil. B 5:00 @ 20C

TFSM - Summer '16
Nikon F5 – AF DC-Nikkor 105mm 1:2D – Japan Camera Hunter Streetpan 400 @ ASA-400 – Kodak HC-110 Dil. B 5:00 @ 20C

TFSM - Summer '16
Nikon F5 – AF DC-Nikkor 105mm 1:2D – Japan Camera Hunter Streetpan 400 @ ASA-400 – Kodak HC-110 Dil. B 5:00 @ 20C

Kodak Xtol
Now I’m a big fan of Xtol as a developer, but in this case, it wasn’t that good of a chemical to use with Streetpan. It made the images look soft, and not in a good way. The shots I took were on a dull day that was humid, but my lens was often working in the f/5.6 to f/8 range, and since it’s the same 105mm f/2D it should be sharp. But the edges appear soft. I actually had a bit of a scare when I first pulled the film out of the tank, I thought that I had over developed it, but once I got it in the scanner I realized I hadn’t. Development was again spot on with little adjustment needed in Photoshop with the levels/curves. The tone was excellent, with great blacks and whites with stable mid-tones. There was also no real difference in grain, it wasn’t any finer, compared to HC-110. Xtol would not be my first choice however for this film.

Reflection
Nikon F5 – AF DC-Nikkor 105mm 1:2D – Japan Camera Hunter Streetpan 400 @ ASA-400 – Kodak Xtol (1+1) 17:00 @ 20C

The Brush Past
Nikon F5 – AF DC-Nikkor 105mm 1:2D – Japan Camera Hunter Streetpan 400 @ ASA-400 – Kodak Xtol (1+1) 17:00 @ 20C

An Entertaining Conversation
Nikon F5 – AF DC-Nikkor 105mm 1:2D – Japan Camera Hunter Streetpan 400 @ ASA-400 – Kodak Xtol (1+1) 17:00 @ 20C

Ilford Perceptol
Now these are the results from Streetpan that I have come to expect from the film. Clean, fine grain, sharp and the contrast point is dead on. The only trouble was that the negatives were a bit dark and needed some heavy adjustments in Photoshop to pull up the images. So I would say that either an additional 30 seconds in the developer or a slight pull to say ASA-320 would be enough to produce a cleaner negative. But overall Perceptol is another winner for developing this film to give the best results.

TFSM - Fall '16
Nikon F5 – AF DC-Nikkor 105mm 1:2D – Japan Camera Hunter Streetpan 400 @ ASA-400 – Ilford Perceptol (1+1) 10:00 @ 20C

TFSM - Fall '16
Nikon F5 – AF DC-Nikkor 105mm 1:2D – Japan Camera Hunter Streetpan 400 @ ASA-400 – Ilford Perceptol (1+1) 10:00 @ 20C

TFSM - Fall '16
Nikon F5 – AF DC-Nikkor 105mm 1:2D – Japan Camera Hunter Streetpan 400 @ ASA-400 – Ilford Perceptol (1+1) 10:00 @ 20C

Ilford Ilfosol 3
Ilfosol 3 was one of the first developers outside of D-76 that I worked with so it remains a bit of a soft spot for me. And for Streetpan it does a fine job, despite me shooting the film in less-than-ideal conditions. The grain is acceptable but noticeable more than other developers, and the film shows off the tonality that it can produce. While Ilfosol 3 wouldn’t be my first choice for developing the film if it’s all you got, you’ll create some fantastic images! As for the time, I might opt to bump it up 30 seconds, but I’d have to test it out under better conditions.

Bending Light
Nikon F5 – AF Nikkor 14-24mm 1:2.8G – Japan Camera Hunter Streetpan 400 @ ASA-400 – Ilford Ilfosol 3 (1+3) 5:00 @ 20C

Halfsmoke?
Nikon F5 – AF Nikkor 14-24mm 1:2.8G – Japan Camera Hunter Streetpan 400 @ ASA-400 – Ilford Ilfosol 3 (1+3) 5:00 @ 20C

Ending the Day
Nikon F5 – AF Nikkor 14-24mm 1:2.8G – Japan Camera Hunter Streetpan 400 @ ASA-400 – Ilford Ilfosol 3 (1+3) 5:00 @ 20C

Rodinal
If you had to pick two developers to use with this film, HC-110 would be the first. And in a very close second would be Rodinal. Usually, you would avoid using a sharp developer with a 400-speed film in 35mm. But in this case, the film itself is designed to produce a fine grain even with a sharp developer and the negatives look good! Right out of the tank I could see to fantastic tonality and stunning contrast that I saw with HC-110. And yes the grain is a little more noticeable but nothing that would take away from the quality of the images. And if you do the long soup and switch up to a 1+50 dilution it makes for an even better image with better, finer grain, without a loss in sharpness.

Deco
Nikon F5 – AF Nikkor 50mm 1:1.4D (Yellow-15) – Japan Camera Hunter Streetpan 400 @ ASA-400 – Blazinal (1+25) 10:30 @ 20C

Heather
Nikon F5 – AF Nikkor 50mm 1:1.4D (Yellow-15) – Japan Camera Hunter Streetpan 400 @ ASA-400 – Blazinal (1+25) 10:30 @ 20C

CCR Review 62 - Canon T90
Canon T90 – Vivitar Auto Wide-Angle 28mm 1:2.5 – JCH Streetpan 400 @ ASA-400 – Blazinal (1+50) 22:00 @ 20C

CCR - Season 3: Recording Session 2
Nikon F5 – AF Nikkor 35mm 1:2D – JCH Streetpan 400 @ ASA-400 – Blazinal (1+50) 22:00 @ 20C

The Final Word
Streetpan is certainly a film I’ll be working with again. There’s a good chance that if you’re reading this, I will have already ordered another brick of 10 rolls of the film from the JCH site. For use on my honeymoon in April in New York City and at a wedding I’m photographing in April. Despite all the praise I have heaped on Street Pan, there is one thing I have noticed with it. It likes light; it doesn’t need direct light, I would avoid shooting in it harsh light, but it wants gray days, soft even light or open shadow. But it does suffer in low light; I had a tough time pulling out good images when I was shooting it just after dusk or in darkened interiors. As for the developers, I do highly recommend using either Rodinal or HC-110 to develop this film as I got the best results from those with good tone, not overly contrasty and it shows off the sharp fine-grained nature of the film stock. It’s a good stock, and a welcome addition to my choice of shooting media.

Big thanks to Bellamy, the Japan Camera Hunter himself, for taking the plunge and bringing Street Pan to us hungry film photographers, he took a leap of faith, and the results are stunning. You can pickup the film directly from his shop and now you can buy single rolls, three and five packs, or a full brick of ten. I recommend the ten. If you’re in Toronto you can pick up the film from Downtown Camera, currently the only Canadian Supplier of the film!

© 2018 Alex Luyckx | Blog