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Wait, you’re probably thinking what is a Disney Travel Blog doing here since you mostly expect photography, film photography at that. Well don’t worry, there’s plenty of both some beautiful images from Walt Disney World and some handy tips from one photographer to another when travelling to Walt Disney World (or even Disneyland Park). And if you’re thinking all you can capture at Disney is family snapshots, think again. Disney is immersive, you honestly feel like you’re a world traveller especially in Epcot and Animal Kingdom. So don’t be afraid to bring your cameras, but I do suggest following a few tips that I’ll outlineRead More →

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For a mid-speed film, Superpan 200 is fairly grainy, so grainy that it surprised me until I learned of the original basis of the film. Superpan 200 is a former surveillance film sharp, but relatively grainy with an extended red sensitivity. It looks terrific behind a red filter. The heavier grain lends itself well to rough urban decay situations for that added grunge effect without pulling it. While not a film I use that often, I can see a use for it for a street photography film or architecture. Film Specs Type: Panchromatic B&W Film Base: Polyester Film Speed: ASA-200, Latitude: 100-1600 Formats Available: 35mm,Read More →

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If you’ve seen this camera before in my reviews, you’d be partly correct; the Leica R3 is the cousin of the XE-7; both are internally the same camera with some external differences (also the obvious being the lens mount). The XE marked a new era for Minolta as it introduced the idea of a semi-automatic camera and a confident professional air to their cameras, not to mention a unique style of names, the X rather than sticking with the old SR nomenclature. While many companies went with smaller form factors in the 1970s, Minolta stuck with their bulky designs, at least for a while. ButRead More →

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The film that really started it all, the TMax line from Kodak gave the world one of the first tastes in 1986 with a modern T-Grain film (Ilford Delta line use the same T-Grain model but were released in 1992). Now the TMax we have today is different from that original release, but it’s still a strong film stock, while not always my first choice (I’m more a fan of the traditionally grained film), I do use it because I love trying to emulate the classic look even out of a modern film. But for those who love the modern look that’s both sharp, fine-grained,Read More →

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I remember the first time I encountered a box of Panatomic-X and seeing the film seep of ASA-32, my mind was blown. I had never seen a film slower than ASA-50 (Pan F+). And then I sent it off to the lab to develop it and was even more amazed at the results. Panatomic-X is a fine-grained general purpose film and it seems the slowest of the X-Series of films (Plus-X, Tri-X, Double-X). And what a film Panatomic-X is, while some are hung up on Plus-X, which is itself an amazing film, I’m more a slow film junkie and enjoy Panatomic-X far more than Plus-X.Read More →

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In photography’s history, critical technologies reshaped photography, from the earliest processes with plates and harsh chemicals to flexible films, interchangeable lenses, and folders to SLRs. One of the most significant changes is the introduction of microprocessors into cameras. This led to the creation of affordable cameras with auto-exposure functionality and the right ecosystem for creating autofocus cameras. While Minolta did not invent autofocus, they were the first to get an entire ground-up autofocus system SLR with a new look and feel compared to previous SLRs to market and meet with commercial success. The 7000 AF is a camera born of the era. While still aRead More →

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If the early days of autofocus cameras brought us VCRs, by the 1990s, the design of cameras had become far more streamlined. The 3xi belongs to the third generation of Minolta autofocus cameras but don’t get too excited; this is the cheapest, lowest range camera in the series. And believe me, it shows. Designed to run for the most part in the full auto-exposure mode with little interference from the photographer itself. These xi series cameras could use powered zoom lenses to set the focal length automatically. But to be honest, while it may look and behave like an SLR, at its heart, it isRead More →

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It’s always interesting to see what you can do with what Adox calls a ‘closed imaging system.’ CMS 20 II is a film that is specifically designed for one developer, and one developer only that is Adotech II. In fact, in their datasheet, they even discourage the use of traditional developers as they could yield poor and unpredictable results. But thanks to the power of the Internet and having a bit of an experimental side and writing these blogs for you, my dear readers let us continue and say you can use traditional developers with CMS 20, and the results are rather stunning. Film SpecsRead More →

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It feels wrong posting a review for Acros 100 in light of the recent news about the film’s demise at the hands of Fujifilm. But I would also feel this series of reviews incomplete without it included. One of my favourite black and white films from Fuji (which isn’t saying much there was only a handful). Bright, sharp, and with next to no reciprocity failure (you can expose the film up to 22 minutes before needing to adjust your exposure time to compensate). While I didn’t use the stock much, I did get to use it abandoned buildings where the long-exposure capacity can help outRead More →

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While not many people would notice it, but when watching a film, and you come across this amazing sequence in black & white, the rich tones across the board, and just a classic cinematic look and wonder, how can I make my still images look that good! Well if you are watching a film shot on traditional film stock the answer is rather easy, Eastman Double-X 5222. Chances are you’ve seen a film shot on this stock, such as the opening sequence of Casino Royale or Shindler’s List. I first came across Double-X a few years back when I purchased some rolls through the FilmRead More →