The North American film photography community can probably thank Mike Bitaxi for the introduction of Polypan F. And to make things more interesting, the film is not intended for pictorial work. Instead, Polypan F is a motion picture copy film. As such the film is a blue-sensitive orthochromatic film, but looking at it, you can hardly tell. But if there is one thing the film is known for it’s the GLOW, thanks to the lack of an anti-halation layer on the film. Sadly the film was discontinued, but there’s still plenty of bulk rolls floating around. Undoubtedly worthwhile trying if you come across it. IRead More →

Svema, or by its proper name, Свема is a film stock that is relatively unknown here in North America unless you are of course fans of the Film Photography Podcast. The name comes from the combination of two Russian words, Светочувствительные Материалы, translated means Photosensitive Materials. While Svema collapsed when the Soviet Union died in the 1990s, another Eastern European film manufacture, Astrum, continues the legacy of Svema using some of the old machinery in a new factory in Shostka, Ukraine. If I had limited experience with the 100-speed version of the film, I have even less with Foto 400. The only time I’ve shotRead More →

Svema, or by its proper name, Свема, is a film stock that is relatively unknown here in North America. But if you’re a fan of the Film Photography Podcast you will have heard of Svema. It would be Svema Foto 200 that first burst onto the FPP scene, and quickly became a favourite film of Leslie Lazenby. The name comes from the combination of two Russian words, Светочувствительные Материалы, translated means Photosensitive Materials. While Svema collapsed when the Soviet Union died in the 1990s, another Eastern European film manufacture, Astrum, continues the legacy of Svema using some of the old machinery in a new factoryRead More →

It’s taken me nearly three years, but I have now reviewed one hundred film cameras! Even though the review rules have slipped a couple times (namely review a sheet film camera and a pair of polaroids), so it’s only fair that I distil these one hundred cameras down into a few top five lists! Just note that there’s no particular order for these top five lists and certainly are my own personal opinions! Also of note, I’ve done my best to not double-dip, that means if a camera appears in one list, that means it won’t appear in any other list. Top Five 35mm SingleRead More →

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 →

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 →

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 →

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 →

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 →