Tag: hc-110

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 16 – Rollei RPX 25

CCR:FRB – Review 16 – Rollei RPX 25

Through 2016 I did a 52-Roll project where I shot the Rollei RPX films for each week, out of the three flavours available my personal favourite remained RPX 25, a spiritual successor to the iconic Agfa APX 25. These days in film photography there aren’t many offerings below ASA-100, Pan F+ is a solid choice, but sometimes you want something sharp, fine-grained, and slow. And for that, you have Rollei RPX 25. While the thin polyester base might make it hard to handle in the bag and widely thin in sheet formats, the results are worth the trouble.

CCR:FRB - Review 16 - Rollei RPX 25

Film Specs
Type: Panchromatic B&W
Film Base: Polyester (PE)
Film Speed: ASA-25, Latitude: 12-50
Formats Avaliable: 35mm, 120, 4×5

Roll 01 – Rodinal
Where best to start with a slow film known for its sharpness is Rodinal. And honestly, it doesn’t matter which dilution you use, 1+25 or 1+50 it depends on how much time you have to develop it. You see clearly the fine-grained nature of the film and the sharpness. I mean the negatives are sharp enough to cut yourself on. Plus you see a touch of the extended red-sensitivity in the film as you get the darkened blue skies.

52:500c - Week 21 - Welcome to the Roc52:500c - Week 21 - Welcome to the Roc52:500c - Week 21 - Welcome to the Roc52:500c - Week 21 - Welcome to the Roc

Technical Details:
Hasselblad 500c – Carl Zeiss Distagon 50mm 1:4 – Rollei RPX 25 @ ASA-25
Blazinal (1+25) 6:00 @ 20C

Roll 02 – Kodak D-76
Sometimes you want a film to be sharp, sometimes you want it to be soft. For the most part, RPX 25 is a sharp film, yet in D-76 it tones down the razor sharp edge, but don’t think this is a bad thing. The film itself is fairly high-contrast, not so much here, the contrast is toned down to a pleasing level but you don’t lose the tonal range at the same time. In generally I rather like RPX 25 in D-76 if I’m looking for a more normal look rather than a deathly sharp contrasty punch in the face you tend to get. If I had to pick a word, smooth comes to mind.

CCR:FRB - Review 16 - Rollei RPX 25 - Roll 2 (D-76)CCR:FRB - Review 16 - Rollei RPX 25 - Roll 2 (D-76)CCR:FRB - Review 16 - Rollei RPX 25 - Roll 2 (D-76)CCR:FRB - Review 16 - Rollei RPX 25 - Roll 2 (D-76)

Technical Details:
Contax G2 – Carl Zeiss Biogon 2,8/28 T* – Rollei RPX 25 @ ASA-25
Kodak D-76 (1+1) 8:00 @ 20C

Roll 03 – Kodak HC-110
When you have a film stock this fine, you really don’t need to be concerned about the developer, and honestly, think HC-110 works well on the film. While I used the B dilution, looking back I think the film would look even better with E or even H. You do get a crank up on the contrast you don’t lose the fine-grain or sharpness with the film and as an everyday developer for the film, you cannot beat HC-110.

52:500c - Week 41 - Battle Ground52:500c - Week 41 - Battle Ground52:500c - Week 41 - Battle Ground52:500c - Week 41 - Battle Ground

Techincal Details:
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Rollei RPX 25 @ ASA-25
Kodak HC-110 Dil. B 5:00 @ 20C

Roll 04 – Pyrocat-HD
So when working with slow, fine-grained films, there are some developers that you just know are going to make the film sing, and with RPX 25 the one developer I knew I had to try with the large format version of the film, Pyrocat-HD remained developer number one. And the wait was well worth it. Any grain that even showed up earlier is gone, I mean I don’t even want to try and print this film as I don’t know how well I could get it in focus. You have insanely sharp images that will blow you away. Not to mention a tonal range to die for.

Mill Water FallsThe Leftovers7.7 cm Feldkanone 96 neuer ArtThe Prison Yard

Technical Details:
Graflex Pacemaker Crown Graphic – Multiple Lenses – Rollei RPX 25 @ ASA-25
Pyrocat-HD (1+1+100) 12:00 @ 20C

Final Thoughts
I honestly say, having RPX 25 available these days is wonderful, as I never got to shoot APX 25 in anything other than 35mm, and now that I can shoot it in 120 and 4×5 if I need that slow speed in the summer or to get that rich velvet of running water I can. While the film’s latitude isn’t the best, you don’t really expect much from a slow film. If I want latitude I’ll shoot 100 or even 400 films before a slow film. And the best part is that the RPX line is available through most brick-and-mortar photography stores and online through Maco Direct or Argentix.

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 13 – Fomapan 100

CCR:FRB – Review 13 – Fomapan 100

The Fomapan series of films are ones that I only recently discovered in the past couple years. It actually was in 2015 when I visited Europe for the 200th Anniversary of Waterloo and popped into a camera shop in the old city of Amsterdam. And there was the whole range of Foma products from paper to film. Well, when I returned I made a point to start checking out this Foma product line. While Fomapan 100 wasn’t my first experience with the product line, it is my favourite of the three film stocks.

CCR:FRB - Review 13 - Fomapan 100

Film Specs
Type: Panchromatic B&W
Film Base: Polyester
Film Speed: ASA-100, Latitude: 40-400
Formats Avaliable: 35mm, 120, Sheets

Roll 01 – Kodak TMax Developer
I’m not sure if it was the lighting or the developer on this one, but not exactly my favourite combination. Yet, it’s not a bad choice of developer, you get the resolving power that you have with Fomapan 100, fine grain, the tones, but the image is just flat. Sure you have the blacks and the whites, but even those are a little off for my taste. If there was a time for 1+4 you might see an improved contrast. But still, if you want this low contrast look, then yes, a solid choice.

CCR Review 82 - Mamiya 645 AF-D IIICCR Review 82 - Mamiya 645 AF-D IIICCR Review 82 - Mamiya 645 AF-D IIICCR Review 82 - Mamiya 645 AF-D III

Technical Details:
Mamiya 645 AF-D III – Mamiya 645 AF 80mm 1:2.8 – Fomapan 100 @ ASA-100
Kodak TMax Developer (1+9) 8:00 @ 20C

Roll 02 – Kodak HC-110
One of my favourite developers for Fomapan 100 is HC-110, because not only do you get a good contrast even with low dilutions like H and F, you maintain amazing tonality across the spectrum and a sharp look and fine grain. Sure you may need to develop it a bit longer than usual or use a different agitation pattern. But trust me this gives you that classic look that you have come to expect from the Foma line of films without losing sharpness or increasing the grain.

ParatrooperA Quick Way Around CampUS ForcesLittle bit of Conversation

Technical Details:
Contax G2 – Carl Zeiss Planar 2/45 T* – Fomapan 100 @ ASA-100
Kodak HC-110 Dil. F 7:45 @ 20C

Roll 03 – Rodinal
If you want contrast on the nose, then Rodinal is your choice for developers with Fomapan 100. You also get to see how sharp the film is, but you do get far more noticeable grain especially when you shoot in 35mm, but far less noticeable in 120. Rodinal is by far my primary developer with Fomapan 100 because it’s a classic looking film, it should always be paired with a classic developer.

LUiNA StationOpposing DoorsWater from the RockLittle India

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

Roll 04 – Kodak D-23
For a slow working developer you get a whole lotta contrast out of Fomapan 100, and like Rodinal it gives a strong look to the film. Smooth tones, great contrast, and fine grain. Now you do lose a bit of sharpness but not enough to be overly concerned about it. Of course the downside is that you do have a ten minute developing time, but it’s worth the time.

TFSM - Spring '17TFSM - Spring '17TFSM - Spring '17TFSM - Spring '17

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

Final Thoughts
If you’re looking for a classic emulsion that feels like a film you’d have shot in the mid-twentieth century then Fomapan 100 is for you. While you do need to purchase the stock through more speciality film stores Freestyle, Argentix, Maco Direct, B&H, it’s well worth the effort because it is slightly less expensive than mainstream films from Kodak, Fuji, and Ilford. But to get the best results for the film, stick to classic developers, HC-110, Rodinal, and D-23. While I haven’t tried the film with D-76 yet, I’m sure that it would do just as good a job.

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:FRB – Review 09 – Ilford Delta 400

CCR:FRB – Review 09 – Ilford Delta 400

If there is one film out there that I have disliked the most but have had a radical change of viewpoints Delta 400 is that film. Like TMax 400, I just find Delta 400 too modern, and boring. It’s not a bad film; it’s just not exciting. It gives you a film that is almost equal in performance as TMax 400. And while I’ve found that the film isn’t bad, it just needs better development in many cases. While some people have managed to tame the film, I do have found through Delta Def Jam; it’s a great choice if you can’t get your hands on TMax 400.

CCR:FRB - Review 09 - Ilford Delta 400

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

Roll 01 – Kodak HC-110
I don’t think HC-110 has ever steered me wrong and I do have the Delta Def Jam event to thank for this one as it was here I discovered what I could get out of Delta 400. With HC-110 you get the rich tones and smooth grain. While you do lose a touch of sharpness, it isn’t much to worry about. As for contrast, that’s easily controlled by increasing or decreasing the dilution, but for me, it’s right to perfect at Dilution B.

Waldie's BlacksmithThe Old Post OfficeBob'sNever Forget

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

Roll 02 – Ilford DD-X
While I’ve been using TMax developer and it does work well with Delta 400, I decided to switch over to DD-X the Ilford equivalent for the Delta films. DD-X is probably the best choice for this film using the 1+4 dilution as standard you see the full power of the modern T-Grain, good tones, sharpness, and decent grain control. While you do see an uptick in grain, it really isn’t too bad once you get into the larger formats. Also, make sure your camera’s exposure is dead on, or else you’ll get some terrible results.

Toronto - New Year's DayToronto - New Year's DayToronto - New Year's DayToronto - New Year's Day

Technical Details:
Rolleiflex 2.8F – Carl Zeiss Planar 80mm 1:2.8 – Ilford Delta 400 @ ASA-400
Ilford DD-X (1+4) 8:00 @ 20C

Roll 03 – Kodak D-76
To be perfectly honest this was the singular roll I shot for this review that I was the most concerned about. I had a rough time the last roll of Delta 400 I had shot in 35mm. But this time around I remained pleasantly surprised. Like TMax 400, Delta 400 responds wonderfully to D-76, and even in 35mm you get a moderate contrast, I would like a little bit more. But you have the sharpness and modern look of the film. While I do notice an uptick in grain, I was expecting this when I pulled the negatives out, but you do get a sharp image at the same time, so it’s a worthwhile trade-off. That being said I do prefer Delta 400 in the older D-23 over D-76.

CCR:FRB - Review 09 - Ilford Delta 400 - Roll 03 (D-76)CCR:FRB - Review 09 - Ilford Delta 400 - Roll 03 (D-76)CCR:FRB - Review 09 - Ilford Delta 400 - Roll 03 (D-76)CCR:FRB - Review 09 - Ilford Delta 400 - Roll 03 (D-76)

Techincal Details:
Nikon FE – AI Nikkor 28mm 1:3.5 – Ilford Delta 400 @ ASA-400
Kodak D-76 (Stock) 9:30 @ 20C

Roll 04 – Pyrocat-HD
I had originally planned to use Pyrocat-HD with one of the Delta Def Jam entries but instead ended up using Kodak D-23. And you know, the wait was worth it. While Pyrocat-HD is based on some of the oldest developers out there, it works wonders on modern films. Giving you a clean, almost grainless look, sharp images, and amazing tones and contrast. Plus it almost gives the film a classic look about it.

CCR:FRB - Review 09 - Ilford Delta 400 - Roll 04 (Pyrocat-HD)CCR:FRB - Review 09 - Ilford Delta 400 - Roll 04 (Pyrocat-HD)CCR:FRB - Review 09 - Ilford Delta 400 - Roll 04 (Pyrocat-HD)CCR:FRB - Review 09 - Ilford Delta 400 - Roll 04 (Pyrocat-HD)

Technical Details:
Mamiya m645 – Mamiya-Sekor C 35mm 1:3.5 C – Ilford Delta 400 @ ASA-32
Pyrocat-HD (1+1+100) 16:00 @ 20C

Final Thoughts
So where does that leave us? Well, I can’t say I’ve been won over with modern films, but it certainly does give me one more type of film to shoot in a pinch when I can’t always get the ones I want. And certainly, if I can’t get my hands on TMax 400, I can get the same results with Delta 400 and I would give the edge to Delta 400 over the Kodak film stock. And for me, that’s saying something. Plus overall, it’s just a bit more exciting than TMax 400 in my view.

Toronto Film Shooters – Winter 2018

Toronto Film Shooters – Winter 2018

When it comes to the Winter meetups, the weather is always a crapshoot. But unlike last year, we were blessed with beautiful blue skies, bright sun, and temperatures above zero. I think that helped bring out a dozen shooters to invade the historic downtown of Unionville, Ontario.

The Train Don't Stop HereBeauty in SimplicityThe Planing MillThe General Store

I had first discovered Unionville thanks to one of my co-workers who mentioned that he and this girlfriend enjoyed the historic downtown. So last summer I hit it up on what turned into a hot summer’s day and I saw why. And the group that showed up completely agreed. The small size of the downtown, about a five-minute walk from end to end, allowed the group to spread out and me, as host, bounce from group to group. Of course, the best part is the gathering afterwards, the Unionville Arms proved to be an awesome spot for lunch. We even attracted the notice of the pub’s owner who thought we were a hockey team instead of a group of photographers.

A late morning StrollCatching the FiddlerRobCatching Water

If you’re interested in joining us on a future walk, the Toronto Film Shooters hosts four main walks a year, with a smattering of specialized walks. You can join us on our facebook group, or search for our events, they’re always public! And you don’t even have to be someone who shoots traditional film, just shoot me a line on FB or post on the event page and I’ll be more than happy to bring a spare camera for you and a roll of film.

Technical Details:
Group 1: Rolleiflex 2.8F – Carl Zeiss Planar 80mm 1:2.8 – JCH Streetpan 400 @ ASA-400
Kodak HC-110 Dil. F 12:30 @ 20C

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

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.

CCR:FRB – Review 05 – Ilford FP4+

CCR:FRB – Review 05 – Ilford FP4+

When I first discovered Kodak Plus-X I was hooked, instantly. But sadly Plus-X went away and while I still scramble to find old stock whenever I can, I can always go to Ilford FP4. Now that’s not to say FP4+ plays second fiddle to Plus-X in my book. In FP4+ I found probably the most versatile film that maintains a level of consistency across the board and formats within in the mid-speed range. Fine grain, sharp, and a contrast to die for. Not to mention a legacy that goes back to when Ilford first started producing flexible films.

CCR:FRB - Review 05 - Ilford FP4+

Film Specs
Type: Panchromatic B&W
Film Base: Acetate
Film Speed: ASA-125, Latitude: 50-400
Formats Available: 135, 120, Sheets

Roll 01 – Kodak D-76
It’s not often that I find FP4+ boring, but in the case of D-76, it is. It’s not a bad combination, there’s just so much more you can do with FP4+ than let it soup in a standard developer. But it still produces a decent negative and everything you like about FP4+ can be found in the negatives I just find the contrast off my just a hair. I actually prefer to soup my FP4+ in the older slower cousin, D-23 with a slight pull to ASA-100 to really show off what the film can do!

HandpaintedA TowerA simple doorA Touch of Modern

Technical Details:
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Ilford FP4+ @ ASA-125
Kodak D-76 (Stock) 8:30 @ 20C

Roll 02 – Kodak HC-110
Probably one of my favourite ways to develop FP4+ despite not using the combination often. HC-110 really ramps up the contrast to a pleasing level without anything over the top. You still get the fine grain and sharpness. And the developer does really play to the film’s strengths. While there are some out there who don’t enjoy HC-110 with FP4+ it certainly does work when you don’t have anything else laying around.

Project:1812 - Path To VictoryProject:1812 - Brock's Monument(s)Project:1812 - Fort MississaugaProject:1812 - Brock's Dead House

Technical Details:
Bronica SQ-Ai – Zenzanon-PS 65mm 1:4 – Ilford FP4+ @ ASA-125
HC-110 Dil. B 7:00 @ 20C

Roll 03 – Rodinal
What do you pair a classic film with? A classic developer of course! One of my favourite combos for FP4+ is Rodinal, it brings out everything you like about the film and more. Not only does it make for extremely printable negatives but they scan like a dream with little needing to be done when you’re post-processing the scans. Negatives are sharp, the tone and contrast are dead on the money and while you may find an uptick in the grain in 35mm it’s hardly noticeable in 120 and large format. The film also responds well to stand developing with the tones becoming more like butter and the grain near non-exsistant.

A Limehouse SaturdayA Limehouse SaturdayA Limehouse SaturdayA Limehouse Saturday

Techincal Details:
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Ilford FP4+ @ ASA-125
Blazinal (1+25) 9:00 @ 20C

Roll 04 – Kodak Tmax Developer
While I knew of the pushing capabilities of Ilford FP4+, I never thought that TMax developer would be a good choice. But I was kind of forced into it, yet as I pulled the film out I was seriously impressed with the results. Of course, when I mentioned this to fellow podcast host Mike, he laughed and told me that TMax developer is a compensating developer so of course, it would work great for pushing. Well push or no push, TMax does a fantastic job on the film stock.

CCR:FRB - Review 05 - Ilford FP4+ - Roll 04 (TMax Developer)CCR:FRB - Review 05 - Ilford FP4+ - Roll 04 (TMax Developer)CCR:FRB - Review 05 - Ilford FP4+ - Roll 04 (TMax Developer)CCR:FRB - Review 05 - Ilford FP4+ - Roll 04 (TMax Developer)

Technical Details:
Nikon FE – AI-S Nikkor 105mm 1:2.5 – Ilford FP4+ @ ASA-200
Kodak TMax Developer (1+4) 9:00 @ 20C

Final Thoughts
When it comes to film that can take anything you can throw at it and turn around and give you exactly the results you want, then FP4+ certainly ranks among those films. A bullet proof stock that likes every developer you throw at it. While D-76, HC-110, Rodinal, and TMax developer are all solid options. I’ve also souped the stuff in Pyrocat-HD, D-23, SPUR HRX and a wide range of Ilford developers (Microphen, Perceptol, DD-X, Ilfosol 3) and it loves everyone and provides the same consistent results no matter what developer and format you get it in. No questions, no troubles, just amazing photos, that’s FP4+.

CCR:FRB – Review 04 – Kodak TMax 400

CCR:FRB – Review 04 – Kodak TMax 400

When it comes to T-Grained (modern films like TMax and Delta) I can be fairly picky, the 100-speed ones I tend to like while the faster 400-speed ones I can be overly critical about. That being said I’ve found that recently I’ve been warming up to these faster emulsions the more I experiment with them. As with Delta 400, I’ve warmed up a little to TMax 400. Oddly, TMax 400 was the first roll of film I processed on my own under the watchful eye of Julie Douglas back in 2010.

CCR:FRB - Review 04 - Kodak TMax 400

Film Specs
Type: Panchromatic B&W, T-Grain
Film Base: Acetate
Film Speed: ASA-400, Latitude: 50-3200
Formats Avaliable: 135, 120, 4×5, 8×10

Roll 01 – Kodak TMax Developer
It’s only fair that we start the film off right using the native TMax developer. And when it comes to TMax 400 whether you’re using the strong 1+4 dilution or the 1+9 dilution you’ll get excellent results from this film. You can get the upper side of the film’s latitude with the developer and show off the fine grain and sharpness of the film with this developer. And even in 1+9, there’s no real loss of contrast, you get smooth tones across the board without any loss of blacks or whites. Of course, in 1+4, you’ll find a greater level of contrast but it won’t affect grain or sharpness.

Project:1812 - Fort OntarioProject:1812 - Fort OntarioProject:1812 - Fort OntarioProject:1812 - Fort Ontario

Technical Details:
Rolleiflex 2.8F – Carl Zeiss Planar 80mm 1:2.8 – Kodak TMax 400 @ ASA-400
Kodak TMax Developer (1+9) 22:00 @ 20C

Roll 02 – Kodak HC-110
You would think that a high contrast developer would be able to pull out some level of contrast in a film, well here in lies my main issue with TMax 400, in certain developers you just can’t get contrast. Sure I could do this in post-processing but that would be cheating in my mind. That being said, HC-110 and TMax 400 is not a bad combination, you still get the sharpness and fine grain nature of the film, and even with Dilution B, you can still push to film to the top of its latitude with amazing results.

TFSM - Spring '17TFSM - Spring '17TFSM - Spring '17TFSM - Spring '17

Technical Details:
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Kodak TMax 400 @ ASA-400
Kodak HC-110 Dil. B 5:30 @ 20C

Roll 03 – Pyrocat-HD
When it comes to developers, if you have talked to me, Pyro developers are a magic bullet. I tend to use it when I what sharpness but desire some grain control so it makes perfect sense for me to use it with TMax 400. Sadly this roll got developed in the dregs of a bottle and was a little underdeveloped. But thankfully due to the power of TMax 400, I could still pull decent images out of the negatives. I found that it produced a very classic look, bright and crispy, and sure enough I actually enjoyed the results while it’s a good option I feel it would be better suited to larger formats (medium and large).

CCR:FRB - Review 04 - Kodak TMax 400 - Roll 03 (Pyrocat-HD)CCR:FRB - Review 04 - Kodak TMax 400 - Roll 03 (Pyrocat-HD)CCR:FRB - Review 04 - Kodak TMax 400 - Roll 03 (Pyrocat-HD)CCR:FRB - Review 04 - Kodak TMax 400 - Roll 03 (Pyrocat-HD)

Techincal Details:
Nikon F5 – AF Nikkor 35mm 1:2D (Yellow-15) – Kodak TMax 400 @ ASA-200
Pyrocat-HD (1+1+100) 11:00 @ 20C

Roll 04 – Kodak D-76
Is there nothing D-76 cannot do? Well, I’m sure there is, but when it comes to TMax films this developer is king because you can push and pull the film to your heart’s content and just dilute to 1+1 and go. My first experience with TMax 400 was souping it in D-76 and I can say you get everything you want out of the film with this developer. I would even hazard saying the film responds better in D-76 than TMax Developer.

CCR - Season 4 - Recording Session 1CCR - Season 4 - Recording Session 1CCR - Season 4 - Recording Session 1CCR - Season 4 - Recording Session 1

Technical Details:
Nikon F90 – AF Nikkor 50mm 1:1.4D – Kodak TMax 400 @ ASA-400
Kodak D-76 (Stock) 7:30 @ 20C

Final Thoughts
While TMax 400 does not remain a favourite film of mine, I really don’t mind it as much as I think I do. I know that sounds weird, but in the end, it just comes down to personal preference. And my preference is for classic/traditional grained films like Tri-X and HP5+ but it’s not a bad film. It’s still sharp, and the grain is super fine even for sharp developers. It works the best for the native TMax developer and does well with the basic as well D-76. While I haven’t developed the film in Pyrocat-HD or D-23 two more present chemicals in my toolkit, I’m sure it would do just fine. But if you want a film you can push to the limit like Tri-X but you want a more modern feel, then TMax 400 is your film.