Can lightning strike twice? Fujifilm thinks it can! In 2018 Fuji ceased production of Fuji Acros 100, just before I released a review on the film that turned into a bit of a eulogy. But then in 2019 Fuji announced that they would reintroduce Acros as a new version, Neopan Acros 100 II. Of course, there were already plenty of conspiracies over the source of Acros 100 which translated over to Acros II, ranging from giant master rolls kept in some deep freezer hidden somewhere in the world. And when the first details on Acros II hit the Internet and a box reading “made inRead More →

If the standard Svema Foto films are too grainy for you, how about stepping it down a notch and picking up a roll of Foto FN64, or FN64. Before this review, I had only shot a single roll of the stuff, and it did not turn out well. I eventually figured out that due to the thin PET base, the film is subject to light piping, and I ended up fogging the whole roll. Now if you’re a fan of the slower film that is having something different from what you get from other typical films, then FN64 is something for you to try. AndRead More →

Compared to printing your own black & white or even worse, colour film in a dark room, developing your film at home, both B&W and Colour, is a walk in the park. And the best part is that you don’t need a light-tight room, just a light-tight bag and tank. Yes, there has been many blogs and how-to’s written on this topic, but I thought I should throw my hat in the ring with my views on the subject of home developing. Before we begin, home development is both satisfying and frustrating. It’s incredibly easy to mess up, ruin a roll, waste money, and possiblyRead More →

There were plenty of photographers out there who seemed happy that Kodak ColorPlus 200 came to the North American market. But the real question among many was what is the film stock exactly? If you look at the box lots of the standard text is not only in a foreign language but even in foreign characters. Once I opened up the box and popped out the canister, the mystery would be solved, the film canister clearly says Kodacolor 200! Kodacolor itself is an old film stock and was Kodak’s first colour negative film released and produced from 1940 to 1963. The next version, Kodacolor-X wasRead More →

We all need that little bit extra, that extra stop, that extra degree. For that, we pick up the heavy hitters, the big glass in our camera kits. If you’re someone who is an ultra-wide junky (Lens 24mm or wider) or wants only a sliver of your frame in focus (Lenses with apertures at f/1.4 or faster), this episode is for you! Konica-Minolta Maxxum AF 17-35mm 1:2.8-4 D When it comes to wide-angle lenses, Alex is a bit of a junkie, so when he found this beautiful lens for his Maxxum system he didn’t think twice. Now there are two versions of this lens, there’sRead More →

The second colour motion picture film stock available from our friends at Cinestill. Like Cinestill 800T, Cinestill 50D is based on Kodak’s Vision3 50D, a slow colour film designed for outdoor work, hence the D in the name standing for daylight. The film has been pre-stripped of the remjet layer allowing for easier processing in labs and at home. Although like 800T the film is natively designed for Kodak’s ECN-2 process, that’s an expensive process, so I decided instead to go with the old standby Burlington Camera. Now I did shoot this film stock back in 2018 and had it processed C-41 and was blownRead More →

When you’re in a situation and your reputation is on the line you need something that works. But if the customer, client, or even your own personal project is on the line and you have to use film, then you want something that will work. Like work always, in any situation! Ilford FP4+ If you miss the ASA-125 rating of Kodak Plus-X, then look no further than Ilford FP4+. A film that dates back to the 1930s and has changed and grown as technology improved. FP4+ is Alex’s choice for outdoor shooting when the light is nice, even if cloudly. It responds well to beingRead More →

When it comes to film, one of the main reasons it hangs on is thanks to the motion picture industry. And many of the films we love today are based on these cine-films. But when it comes to using these films designed for motion pictures in our still cameras, there is a bit of extra work to be done. Sure you can just load up a roll of Eastman Double-X and develop in regular B&W developers. But the colour film, the Vision3 line, is a whole other kettle of fish. First and foremost in everyone’s mind is the remjet layer, a special carbon-based backing thatRead More →

When it comes to basic bare-bones developers, you don’t get any more simple than Kodak D-76. Kodak D-76 is the common factor between professional and student photographers and everyone in between. It’s a staple in most darkrooms, you can develop film and prints with it, and for me, it was the first developer I ever used for both film and prints. And for a while, I had stopped using Kodak D-76 in my processing, but after I started reviewing films, I got back into the stuff. The reason it gives what you expect, a baseline. It also is relatively inexpensive and economical for long termRead More →

When it comes to the specialised films out there, I’ll admit my knowledge is pretty grey. But there is also a particular challenge to making such a film work in general use photography. And having worked with various Eastman films from 5363, 2366, and 2238 I felt confident that I could make this Fuji film stock work. So what exactly is Fuji Recording Film Eterna-RDS Type 4791? According to Fuji’s website, Eterna-RDS 4791 is a black and white film intended for making archival black and white separations from colour digital masters for a digital separation workflow using a film recorder. The film is Fuji’s versionRead More →