So what happens when you put the two ASA-3200 speed films against each other? Well, you have the 3200 club. As everyone knows, Kodak this year re-released their TMax P3200 film and while Ilford has always maintained their Delta 3200 films, I decided in light of having reviewed both films, to compare the two. Now, this blog isn’t designed to speak to which one is better than the other. Because there’s already too much of that in the Photographic community as a whole. To start off what do the two film stocks have in common? Well, both are a modern T-Grain emulsion, where the silverRead More →

Back in the early days when I was just starting to explore the wonderful world of films outside of Fuji, Kodak, and Ilford I hopped on the Freestyle website and discovered two brands of film I had never heard of before and landed myself a variety of Efke and Adox films. Today I’m going with one of my favourite of these ‘classic’ emulsions, and that is Adox CHS 100. Like Efke, CHS films are silver rich, grainy and lands you a mid-century classic look. Sadly, the original CHS 100 ended when Fotoimipex closed down shop in 2012. Adox, however, bounced back and still produce onRead More →

When it comes to classic films, Kodak has plenty of options that you can still get. But one of my personal favourites is a genuinely classic film, and that is Efke 100. Any Efke. But of all the Efke flavours the one I’m most familiar with is Efke 100. The 100 flavour is a silver rich film, fantastic tones and gives you that mid-century look that you see in the snapshots of your parents in your grandparent’s albums. These days while no longer produced if you check on eBay and find the right seller you can get a great deal on some new-old-stock that theRead More →

You might call Delta 3200 the fast film that survived. When Kodak discontinued P3200, Delta 3200 survived. And even Ilford had one thing that Kodak did not, the 3200 speed film in medium format. However in this case I wanted to shoot all the review rolls in 35mm, for a future head-to-head post. However, at the time I could could get two rolls in 35mm and had to take the third in 120. I have to say, having shoot the stock before I am far happier now with the results than I was then. While not a fan of films faster than 400, I foundRead More →

This won’t be the first time the gang has talked about lenses, but just like there’s a wide range of cameras out there, classic lenses seem to be having a resurgence especially with the adaptability of mirrorless cameras. But we prefer to use our classic lenses on our classic cameras! So what lenses will we be discussing today? Nikkor 105 f/2.5 – If there’s an iconic Nikon lens, it’s the short telephoto, almost perfect portrait lens, the Nikkor 105mm f/2.5. It has come in every variant of manual focus Nikon, from the original Nikkor-P through AI and AI-S. Legendary NatGeo photographer Steve McCurry used itRead More →

The reintroduction of TMax P3200 had a bit of a polarizing effect on the film photography community. Many welcomed it back, seeing this as a positive step for Kodak, a teaser before they get the new Ektachrome back on shelves and in cameras. Others were rather derisive on the move, decrying it wanting films like Plus-X back before a high-speed film because we still have Ilford Delta 3200 and it comes in Medium Format as well! I took a more balanced approach, I’ve only really shot high-speed films a few times, but I figured hey, might as well give it a go. I had shotRead More →

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 →

If you’ve ever had a serious conversation with me about cameras, gears, and how to choose what camera and lens to run with, you’ve probably heard me speak on the Three Lens kit, but recently I got to thinking, what about other lens kits? Could I go on a trip with maybe a two lens, or even a one lens kit? I’ve spent many years with a fantastic set of prime lenses which have always formed the core of any lens kit I bring with me, but what about going with some more zooms, reducing the number of lenses to bring along. So today, I’mRead More →

When it comes to podcasts, Classic Camera Revival may not be the biggest out there, but like any Internet project, you’re sort of shouting into the void and hoping that someone might hear you. And in the case of CCR, people heard and we have a group of listeners. And a group of fans that reach from beyond Canada. Not bad. So in light of our first meet, we promised that we would host the second meetup in 2018. So, using details from my own trips into the historic downtown of Cambridge, formerly known as Galt, and from the daily walks by Tom Fournier, aRead More →

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 →