Tag: kodak

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 12 – Kodak Tri-X 400

CCR:FRB – Review 12 – Kodak Tri-X 400

Kodak Tri-X, the mention of the film stock is usually met with awe or aversion. But for me, Tri-X is my film of choice no matter what situation I’m going into. I know that with the film I can get consistent results no matter what situation I throw myself into from abandoned buildings to a wedding, and will get amazing results no matter what chemical I toss the film into. With a classic look and feel, you can torture this film to your heart’s content and will always get the results you need.

CCR:FRB - Review 12 - Kodak Tri-X 400

Film Specs
Type: Panchromatic B&W
Film Base: Acetate
Film Speed: ASA-400, Latitude: 100-6400
Formats Available: 35mm, 120, Sheets (Note: Sheet films of Tri-X are known as 320TXP)

Roll 01 – Rodinal
Like my aversion to using Rodinal with Bergger Pancro 400, I thought the exact same thing with Tri-X, putting a sharp developer on a fast film will result in a grain fest. Yet, I wanted to give it a go anyways and the results astounded me. The grain, while more present than normal, is reasonable, it is a little more noticeable in 35mm, it also shows off exactly what Tri-X can do. With sharpness, tonality, and contrast that show you exactly how the world is supposed to look in black & white. If you want something a little smoother, bump the dilution to 1+50 for even better results. Just remember to use a chemical stop bath, I forgot one time and overdeveloped the sheets.

Amy & Jeremy - 12th August 2017Amy & Jeremy - 12th August 2017Amy & Jeremy - 12th August 2017Amy & Jeremy - 12th August 2017

Technical Details:
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Kodak Tri-X 400 @ ASA-200
Blazinal (1+25) 7:00 @ 20C

Roll 02 – Kodak HC-110
The first roll of Tri-X I developed on my own was with HC-110, back in 2012. Now you’re probably screaming that I developed for less than five minutes, which is a big no-no apparently. And even now that I use longer developing times (), the results are the same! But it works for me. It seems that, at least to me, HC-110 and Tri-X are made for each other. The tones are there, the sharpness is there, and the contrast is through the roof. And it also shows off how well Tri-X can handle even the worst lighting conditions like a rainy day in Arras under heavy clouds.

Rainy Day in ArrasRainy Day in ArrasRainy Day in ArrasRainy Day in Arras

Technical Details:
Contax G2 – Carl Zeiss Biogon 2,8/28 T* – Kodak Tri-X 400 @ ASA-400
Kodak HC-110 Dil. B 4:30 @ 20C

Roll 03 – Kodak TMax Developer
While not my favourite choice for Tri-X, that doesn’t mean TMax Developer does a good job, it does, it just doesn’t make Tri-X look like the Tri-X I know and enjoy. But thankfully, Tri-X looks good, no matter what you develop it in. The grain is far more chunky as if it’s trying to make classic grain look like modern grain. It may even look close to a classic Tri-X with big grain and lower than normal contrast. But if it’s all you got, it does its job. Though I personally would knock the developing time back 15-30 seconds next time, or pull the film further back to 200.

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Techincal Details:
Nikon F5 – AF Nikkor 50mm 1:1.4D – Kodak Tri-X 400 @ ASA-320
Kodak TMax Developer (1+4) 7:15 @ 20C

Roll 04 – Kodak D-23
While D-76 is a good choice of developer for Tri-X, I personally prefer the slower working D-23 as it really helps show off the range for Tri-X, and actually gives the film a far more classic look than newer developers. You get the same tone and sharpness that I have come to expect from the film but it does knock back the contrast but not by much if you prefer more contrast D-76 would be a better choice.

Project:1812 - Fortress HalifaxProject:1812 - Fortress HalifaxProject:1812 - Fortress HalifaxProject:1812 - Fortress Halifax

Technical Details:
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Kodak Tri-X 400 @ ASA-400
Kodak D-23 (Stock) 7:30 @ 20C

Final Thoughts
Kodak Tri-X will remain, one of my favourite films, I can push and pull the film no matter what and can always pull good images out of it. And though you don’t get the clean modern look as you would with TMax 400, it’s that classic grain and contrast that I desire when I’m out on the street or in portraiture. It’s the classic in the yellow box and one that you can get pretty much anywhere you can buy film. While I wouldn’t develop in TMax developer, it sings in Rodinal, D-23 or D-76, HC-110 and so many other developers.

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.

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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.

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.

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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.

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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.

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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.

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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.

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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.

CCR:FRB – Review 03 – Film Ferrania P30

CCR:FRB – Review 03 – Film Ferrania P30

As happy accidents go, when you’re trying to come up with a new slide film, and you reinvent a classic film from the past, there’s nothing wrong with that now is there? P30 is, at its heart a motion picture film and probably make a great reversal film. While I would have loved to try a roll through Dr.5, the expense of the process and a possibility of it not working makes it hard to decide to send it to them. P30 is Rollei Retro 80s on steroids with a touch of Eastman 5363 thrown in for good measure. The images have a deep chrome feel like you are looking at the world through a red filter.

CCR:FRB - Review 03 - Film Ferrania P30
The Lowdown
Type: B&W Panchromatic
Film Base:
Film Speed: ASA-80, Latitude:
Formats Available: 135 (35mm)

Roll One – Kodak HC-110
For a first impression, I was initially disappointed, the negatives were very thin, there were images, but I would have to push myself in post-processing to pull them out. But when I did, wow, I’m a big fan of a well-developed roll of Eastman 5363. And the results I pulled out were exactly on point. But they also had the quality and feel of images shot through an orange filter, maybe even a red. And the image quality, sharp as a knife, beautiful separation of tones and next to no grain. Personally, I would add an extra 30 seconds to the developing time that might help clean up the negatives.

CCR:FRB - Review 03 - Film Ferrania P30 - Roll 01 (HC-110)CCR:FRB - Review 03 - Film Ferrania P30 - Roll 01 (HC-110)CCR:FRB - Review 03 - Film Ferrania P30 - Roll 01 (HC-110)CCR:FRB - Review 03 - Film Ferrania P30 - Roll 01 (HC-110)

Technical Details:
Nikon F2 Photomic – AI-S Nikkor 35mm 1:2.8 – Ferrania P30 @ ASA-80
Kodak HC-110 Dil. E 7:30 @ 20C

Roll Two – Kodak D-76
When a company says that a developer is ideal for their film stock, listen to them, I am rather impressed with the way P30 handled D-76, the tonality was dead on the money. But I did notice the loss of the orthochromatic feel that I had with HC-110, but it doesn’t affect my view of the film stock. The film retained its fine grain and sharp resolution even in a rather boring developer.

CCR:FRB - Review 03 - Film Ferrania P30 - Roll 02 (Kodak D-76)CCR:FRB - Review 03 - Film Ferrania P30 - Roll 02 (Kodak D-76)CCR:FRB - Review 03 - Film Ferrania P30 - Roll 02 (Kodak D-76)CCR:FRB - Review 03 - Film Ferrania P30 - Roll 02 (Kodak D-76)

Technical Details:
Nikon F5 – AF-S Nikkor 14-24mm 1:2.8G – Ferrania P30 @ ASA-80
Kodak D-76 (Stock) 7:00 @ 20C

Roll Three – Rodinal
While not my favourite, P30 does respond to Rodinal rather well. In fact, I find it knocks back the contrast inherent in the film. It shows off the sharpness and resolution of the film stock, however, it doesn’t make the film sing. I think it would do better with less time maybe drop it back to thirteen minutes rather than the given fourteen. There was something lost in this roll of film.

CCR:FRB - Review 03 - Film Ferrania P30 - Roll 03 (Rodinal)CCR:FRB - Review 03 - Film Ferrania P30 - Roll 03 (Rodinal)CCR:FRB - Review 03 - Film Ferrania P30 - Roll 03 (Rodinal)CCR:FRB - Review 03 - Film Ferrania P30 - Roll 03 (Rodinal)

Technical Details:
Contax G2 – Carl Zeiss Planar 2/45 T* – Ferrania P30 @ ASA-80
Blazinal (1+50) 14:00 @ 20C

Final Thoughts
I like this film, Ferrania P30 combines everything I like about Rollei Retro 80s and Eastman 5363. Rich contrast, sharp images, and a touch of orthochromatic response in the blues. I hope that the fine folks at Film Ferrania don’t stop producing this film and move it beyond an Alpha release and into full production along with their long-awaited slide film and maybe even a return of Solaris. But if you’re a fan of Retro 80s but can’t stand that polyester base, then P30 is the film for you. And in good news, P30 is once again available directly through the Film Ferrania store, you can pick up max orders of 10 rolls. Currently, only the US/Canada shop is open, but the European and Asian shops will open in 2-6 weeks, Europe first (2-3 weeks after North America) and then Asian (2-3 weeks after Europe)

CCR Review 80 – Minolta SR-T 101

CCR Review 80 – Minolta SR-T 101

I’ll be the first to admit I have a soft spot for match needle mechanical SLRs. And the camera that created that soft spot is not the SR-T 101, but rather it’s cousin the SR-T 102, but it’s the 101 on the review block today, and with little between the two, it seems only fair to apply the same level of familiarity. The SR-T line is the cameras that made me love photography, simple in their design and operation the cameras are near perfect for students and those who are learning photography. And despite being decades separated from the camera, going back to them is like revisiting a friend and a welcome respite from the more advanced gear in my collection.

CCR Review 80 - Minolta SRT-101
The Dirt
Make: Minolta
Model: SR-T 101
Type: Single Lens Reflex
Format: Miniature Format, 135 (35mm), 36x24mm
Lens: Interchangeable, Minolta MD Mount
Year of Manufacture: 1966-75, this model is post-1970

CCR Review 80 - Minolta SR-T 101CCR Review 80 - Minolta SR-T 101

The Good
The SR-T is one of many different cameras produced through the 1960s and 1970s designed to offer simple single-lens reflex cameras to the masses. The K1000, FTb, OM-1, FM all come to mind. From the match needle metering where you simply adjust your shutter speed and aperture to move one need to intersect with the metering needle to get your exposure. The full mechanical operation means the camera will function perfectly without a battery. And since the camera’s meter relies on a mercury cell finding one that has a dead battery should be of no concern. While the camera is heavy and bulky, it isn’t that heavy in general. The controls are well laid out from the heavy shutter speed dial and shot throw and the well laid out design. Not to mention the camera can take several hits and keep on shooting. Also, an on/off switch means you can conserve battery power. But the thing that makes the SR-T standout is the metering; it uses dual photocells. One in the prism that meters through the lens in a centre weighted model and a second cell mounted on the external body just above the lens mount. Marketed as the Contrast-Light-Compensator (CLC) it gives the camera an early form of average or matrix metering we enjoy today and gives the camera with a functioning meter accurate exposure!

CCR Review 80 - Minolta SR-T 101CCR Review 80 - Minolta SR-T 101

The Bad
Some cameras I had a hard time even talking about the poorer aspects, and the SR-T is one of them. My biggest concern is the lack of an aperture display in the viewfinder. Adding in such an item would have been helpful back when I was first learning how to shoot, and even today having a visual display is a big help still. The addition of an on/off switch is great, but being on the bottom plate, you’re more likely to leave it on by accident and drain the battery and having to use the pad of your finger to twist it makes it a bit awkward to operate. And as always, these cameras are starting to get old, so it is important to try before you buy and should get a service job done on them. But if you get one in good shape or get a CLA done, they will not let you down.

CCR Review 80 - Minolta SR-T 101CCR Review 80 - Minolta SR-T 101

The Lowdown
As a student camera, the SR-T line is an excellent choice that won’t break the bank. K1000s and FMs still maintain a strong price point on the used market, but like many Minolta cameras the SR-T often goes unnoticed so you can get a body with a lens for around 100$, and extra lenses will cost less even the good ones! And the Rokkor optics are amazing, especially the modern Rokkor-X line. And while the battery it takes is mercury there are many modern alternatives to power the camera meter, the one I use has a Wyne cell installed, and the exposure is accurate. But I rather prefer shooting the camera with Sunny-16 just because it’s an easier way to run things for me.

All Photos Taken in Niagara Falls, Ontario
Minolta SRT-101 – Minolta Rokkor-PF 1:1.7 f=55mm – Kodak Plus-X @ ASA-125
Kodak D-76 (Stock) 5:30 @ 20C

CCR Review 79 – Kodak Retina IIIC

CCR Review 79 – Kodak Retina IIIC

Before Apple picked up the name Retina, it attached itself to a line of folding German Kodak cameras. Wait, isn’t Kodak an American camera brand you may be asking. And yes, you’re right but their German branch, Kodak AG, had a rather strong reputation in bringing inexpensive but solid performance cameras to market, and their iconic line, Retina. And while the camera is classified as a folder, it lacks the distinctive bellows that prove to be a weak spot in these cameras. Armed with German rather than American optics the cameras are solid performers if a bit fickle in their operation. A note to the reader, this review is for the Retina IIIC, not the older IIIc; there is a difference. Thanks to Mike Bitaxi for loaning the camera out for review.

CCR Review 79 - Kodak Retina IIIc

The Dirt
Make: Kodak AG
Model: Retina IIIC (028)
Type: Rangefinder
Format: Miniature Format, 135 (35mm), 36x24mm
Lens: Interchangeable (Front Element), Retina Bayonet
Year of Manufacture: 1957-60

CCR Review 79 - Kodak Retina IIICCCR Review 79 - Kodak Retina IIIC

The Good
There are a couple of items that make the Retina IIIC a strong camera. First and most important is the lack of bellows. This fact right off the marks clears off a major weak point for many of these cameras a solid all-metal construction from top to bottom, front to back means that is one less thing you need to worry about when picking up the camera. The second is that the camera has German optics, while many during this time clamoured for Kodak Ektar lenses, Germany was started to show off its optical prowess outside of Zeiss and Leica. And the Rodenstock Heligon lens is no underachiever, sharp and a f/2 max aperture is no slouch on a camera aimed at the consumer market. I would have prefered something a bit wider (say 35mm or 45mm), but I can’t complain. In hand the camera is small, and while I’m not too impressed with the general layout, the one part that makes sense to me is the placement of the film advance. It’s on the bottom of the body and if you hold the camera properly the placement makes a lot of sense. Not to mention it’s a short throw that also cocks the shutter, just be careful in managing the film counter, one wrong press and you’ll jam the whole thing up, but it’s easily fixed. You have a bright viewfinder with an integrated rangefinder and the all-important framing guide, so composing images is a no-brainer.

CCR Review 79 - Kodak Retina IIICCCR Review 79 - Kodak Retina IIIC

The Bad
Despite all the praise, the Retina IIIC is a camera well past it’s prime even when it was new. First, the style, making this camera a folder was a mistake in my view, the giant side open front door and folding option on the camera takes away from the compact design. Sure when you fold it up it’s sleek and compact, but when you open it up, you’re no longer a compact camera. The Retina could have maintained a compact design without folding up. Also, you have to put the lens back to infinity focus to close up the front section. As I mentioned this camera is small, everything is small on it from the exposure controls on the front of the lens, the shutter release, the exposure counter release, and even trying to find the focus knob is fairly tough. I mean I’d take the size and controls of the Olympus XA over those of the Retina IIIC. It’s just a rather cramped experience overall, and not in a good way, in an I’ve been stuck on a German U-Boat at the bottom of the ocean for several weeks. Watch Das Boot, and you’ll get it.

CCR Review 79 - Kodak Retina IIICCCR Review 79 - Kodak Retina IIIC

The Lowdown
I had high hopes for the Retina, I honestly did. I found a cramped camera that really should have been designed differently. The small size and finicky nature of the camera made for a rather unpleasant shooting experience. Despite so many things going for this camera, you really should try it first before you go out and buy it. I believe much of this has to do with the fact it was built by the German branch rather than Rochester (North America), the design philosophies are different and seen. I think the Retina would have been a stronger camera that lasted far longer had Rochester taken a heavier hand in its design. If you like one, you’ll get a nearly indestructible camera with a strong optical performance that will last you until the cows come home.

All Photos Taken at Sheridan College, Oakville, Ontario
Kodak Retina IIIc – Rodenstock Retina-Heligon C 1:2/50mm – Kodak Tri-X 400 @ ASA-800
Kodak D-76 (1+1) 9:45 @ 20C