This is only the second time I’ve reached a significant milestone in my ongoing reviews, the magic number of one hundred. And to be clear, I’ve done one hundred film reviews, not reviewed one hundred separate film stocks. And that’s because I’ve reviewed some rebadged films; sometimes, I knew it was a rebadge and then made a point not to go after that film stock again, notability ORWO films. I reviewed the four motion picture-specific films from ORWO as their Lomography rebadge. But in the case of Fomapan 100, I reviewed that first as KosmoFoto Mono 100 and then again as Fomapan 100. Agfa AviFotoRead More →

While the Mark 1 Intrepid is long obsolete, it was a fantastic camera for the era in which it was produced. It became the foundation of a resurgence in modern large-format camera creation, not only from the folks at Intrepid. And while this camera is long gone, it certainly left an impression on me and my photography. This camera was designed to make large format affordable and modern construction. And it certainly made that dream a reality. Was the camera perfect? Far from it, I had many problems with this camera, but for what it was and what it cost, it made a large format,Read More →

I had to go back into my archives to see if I ever posted anything directly related to my 2015 trip to Europe. And yes, the images did appear in several review posts, but I never made a great post about the trip. I don’t understand why! But it probably got caught up in my poorly managed posting schedule, which I only in the past couple of years got onto the right track and had some semblance of order. But either way, I think for this Friday, I get things in order and revisit a special trip of mine with some insights into that tripRead More →

Despite being far more niche these days, film photography still hangs on. And while there are plenty of options out there for getting your films lab developed and colour film developed, both C-41 and E-6 is fairly uniform no matter what chemical you buy. Except for E-6, Cinestill has a unique E-6 kit, but that’s a whole other thing. When it comes to Black & White, there is a tonne of options available to you for development. It can seem a bit overwhelming at times. But I have spent close to a decade developing my own Black & White at home and have tried aRead More →

The year was 2012; I had been shooting film in a far more serious way for three years at that point. I learned of a speciality film store called Freestyle Photographic from an episode of the Film Photography Project. They had all sorts of weird films from Europe that I had never heard of nor seen at my local camera store (which at that time was either Henry’s or Burlington Camera). With companies like Efke and Adox, strange, exotic for my North American sensibilities. I purchased a pile of Efke and Adox CHS Art films, both in 35mm and 120, 50 and 100-speed offerings. WhileRead More →

Back in the Summer of 2013 when APUG was the place to get your online fix of the analogue photography community, I noticed a post in the Toronto local board that there weren’t enough meetups for the film photography community. Which was at the time partly true, sure there had been a couple of FPP/APUG meetups in the area in the past, I had even helped coordinate one in 2011. But there had not been anything since. So I took it upon myself to plan these events, at least four, in a year. The first one dropped in July 2013, had a decent turnout andRead More →

When it comes to TLRs, there are plenty of choices out there and in many cases will cost you a fair amount of money. I’m talking Yashica, Minolta, Mamiya, and Rolleiflex plus several other upper-crust cameras. But for me, these were a second step (Yashica-12) and third step (Rolleiflex 2.8F) in my journey of Twin-Lens cameras. My first TLR is a true Soviet-era classic and a gateway drug into the wonders of both 120 film but also TLRs in general, and that is the Lubitel 2. Built by ЛOMO (LOMO) or Ленинградское Oптико-Mеханическое Oбъединение translated Leningrad Optical Mechanical Association one of the pillars of theRead More →

While the idea of cutting a channel to safely carry cargo and people across the Niagara Penisula was not a new one by the time William Hamilton Merritt came along and pushed the idea forward to completion, Merritt is the one credited with the concept. William’s father, Thomas Merritt served under Sir John Graves Simcoe in the Queen’s Rangers during the American Revolution. After the war ended Thomas and his wife Catharine Hamilton settled in Saint Johns, New Brunswick for some time. But the call of home beckoned and the two returned to Bedford, New York. In Bedford, on the 3rd of July 1795 thatRead More →

While today it’s been several years since its introduction, Xtol marks the last developer to come out of Kodak. And as developers go, it is the least toxic of all the ones available on the general market. The reason is that it uses Ascorbic Acid as one of the active ingredients. It not only allows for sharpness but also reducing visible grain in the process. But Xtol is also a developer with a flawed history; you need to mix up a lot to maintain its stability. And while I no longer keep Xtol in my toolkit, it remains a beautiful developer that is perfect ifRead More →

According to the Kodak Datasheets on Eastman Fine Grain Duplicating Positive Film, which I will refer to from now on as Eastman 2366, is a low-speed duplicating film intended for making master positives from black-and-white camera negatives. Eastman 2366 is a blue-sensitive black-and-white film has very high resolution and provides very high acutance. In other words, this is not a film for regular photographic use. But what’s the fun in that? I first came across Eastman 2366 among other specialised Motion Picture Film from the Film Photography Project but to develop these as negatives using standard chemistry, while possible it’s hard to find times toRead More →