When it comes to the world of TLRs, I was hooked from the first time I picked one up; in my case, the LOMO Lubitel 2. But the Lubitel was primitive even for the age when it was produced as a simple camera aimed at budding photographers. And while there is a certain character to the images produced by that T-43 lens, I had hit the gear acquisition hard after listening to the Film Photograph Podcast. Thankfully in those days, the cost of cameras had not yet risen, and you could get excellent deals on almost anything. At a local camera show put on byRead More →

When I first started into the Minolta Maxxum system, my first two lenses were zooms, the iconic duo of f/4 classics, the 35-70mm and 70-210mm. A trip to Burlington Camera yielded a couple of prime lenses that would be perfect additions to my kit; they were the classic 50mm f/1.7 and the lens I’m reviewing today the 28mm f/2.8. The Maxxum 28/2.8 is a great lens and a perfect fit. Doesn’t take too much space. It is close to the same size as the 50 and even the 35-70 and is my favourite prime lens for my Maxxum 9 system without a 35mm prime. AndRead More →

It has been far too long since I got together with this amazing group of people in-person since all of this started in March 2020. And while I was unable to make it out to the first meetup since our last meetup in February 2020 (at least it was the largest meetup to date). And through early 2021 there were some attempts at virtual meetups, the fact of the matter is that the TFS group is best served with in-person meetings. Thankfully with things looking far better real meetups kicked off in October with a second meetup taking place at the beginning of the month.Read More →

It is always a good idea to future proof your lenses, especially when working with the Minolta manual focus cameras. I say that because, like Nikon, while the original 1958 SR-Mount is basically the same as 1977 SR-Mount, there are subtle differences, like the Nikon F-Mount. I first picked up this lens as part of a drive to get better glass for my Minolta X-7a, my second Minolta SLR. While I could go with MC variant lenses, I went with the MD variant. The reason being that if I had updated my X-7a to an X-700, I needed lenses that would work with all theRead More →

I need to start learning that when it comes to black and white developers, all of this has happened before, all of this will happen again. Take, for example, Rollei Low-Speed, RLS is a modern rebranding of LP-CUBE XS. There’s very little information about both developers online outside of official documentation. But it also has some interesting notes and is the first time using a film described as a deep layer developer. But the one thing I am familiar with is a developer that works best at speed less than the box. In fact, the amount of reduction in film speed is what I sawRead More →

There are a couple of highly specialised and mysterious developers out there, both made by the same company. While most people are drawn towards Diafine (which I plan on reviewing next year), Acufine is the cousin of that magic bullet developer. Like Diafine, Acufine’s chemistry is a trade secret; even the datasheets are redacted in that sense. But Acufine is a rare bird; it has the capability to increase the speed of most film stocks. But without all the drawbacks of push processing, increased grain, over the top contrast. While I have worked with Acufine before the stuff was way out of date, and IRead More →

Let me start this by saying that DD-X and I have not had the best of relationships. The first time I used it I wasn’t happy with my results and decided that I was never going to touch the stuff again. But hey, almost every filmstock and developer are worth a second glance. DD-X, like its Kodak cousin, TMax developer was initially designed for use with the Delta range of films, specifically Delta 3200. Ilford has two versions of this developer, Ilfotec DD which is designed mainly for automated film processors that will use a dedicated replenisher and used in the stock formulation. White DD-XRead More →

I’ve quickly learned over the three previous reviews of Olympus lenses that there is a certain polarization when it comes to Zuiko glass. In most cases, Zuiko glass is well received by those who use the OM system. But only some lenses and those are usually the ones that fetch the highest price on the used market. And then there’s this lens. Now I’m only recently starting to make more use of zoom lenses, and I have the Minolta Maxxum system to thank for it, so if this review seems clunky, it’s because this is the first zoom lens I’ve reviewed in this series. TheRead More →

When it comes to 50mm lenses I’m a sucker for a fast fifty, and while I initially got the 50/1.8 (don’t worry, I will get that lens on the review table but not until next year). I couldn’t turn down the excellent price tag on the chrome nosed 50/1.4 when I was at Burlington Camera one day. While in some circles the early version (which I’m reviewing today) gets a bit of a bad rap due to the coating on the lens. But honestly, the coating just looks cool when hit with light and viewed at the right angle. Most will go for the newerRead More →

If you have been doing home film development, then the term stand-development might have crossed your eyes. And when it comes to the process, I’m still relatively new to using stand-developing in my black and white film processing toolkit. While I’ve had some successes when it comes to handling particularly rough or even unknown film stocks, it isn’t a method for all films. So for today’s post, I went out with three different films, Ilford FP4+, Rollei Superpan 200, and Kodak TMax 400. Each shot on a different day, in different conditions, and various cameras. Then I went and soaked all three rolls in aRead More →