Tag: Oakville

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.

CCR:FRB - Review 05 - Ilford FP4+ - Roll 04 (TMax Developer)CCR:FRB - Review 05 - Ilford FP4+ - Roll 04 (TMax Developer)CCR:FRB - Review 05 - Ilford FP4+ - Roll 04 (TMax Developer)CCR:FRB - Review 05 - Ilford FP4+ - Roll 04 (TMax Developer)

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.

Project:1812 - Fort OntarioProject:1812 - Fort OntarioProject:1812 - Fort OntarioProject:1812 - Fort Ontario

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.

TFSM - Spring '17TFSM - Spring '17TFSM - Spring '17TFSM - Spring '17

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.

CCR - Season 4 - Recording Session 1CCR - Season 4 - Recording Session 1CCR - Season 4 - Recording Session 1CCR - Season 4 - Recording Session 1

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 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

FP4Party – Redeux

FP4Party – Redeux

Finally, we have snow here in Southern Ontario which for me is wonderful! The cold weather is only made bearable by the presence of the white stuff. It also makes it more fun to go out tromping in the snow! But I shot most of my FP4 back in December, and with a deep freeze settled into the area after Christmas I really didn’t want to take any chances. But the arrival of the Secret Santa gift from the Emulsive gift exchange included a roll of FP4+ in 120 and with five sheets of 4×5 I was ready to go, on a much-reduced scale.

Group One – Erchless – I love shooting around downtown Oakville, and the pastoral setting around the home of the town’s founder William Chisholm was the backdrop of the sheets for this month’s FP4Party. Erchless is one local museum I have yet to visit but certainly will for my history project this year (Project:1867), as Chisholm played a bit part in the rocky road that led up to Confederation, from radical to tory, Chisholm’s effort to build an empire ultimately was his undoing as he died deep in debt and destitute. His family, however, continued to live at his grand home until 1910.

The HuntedThe AlphaKeep Pumping!Erchless

Technical Details:
Pacemaker Crown Graphic – Schneider-Kreuznach Symmar-S 1:5.6/210 & Schneider-Kreuznach Xenar 1:4,7/135 – Ilford FP4+ @ ASA-64
Pyrocat-HD (1+1+100) 8:00 @ 20C

Group Two – Niagara – Finally the cold weather broke on Sunday, the final day to shoot for the party. And having already planned to head down to the Niagara region I brought along the Hasselblad and the Minolta SR-T (shooting for review later this month). Niagara-On-The-Lake has been one of two towns that show up often in my photography. Destroyed in the Anglo-American War of 1812, and risen from the ashes. It was the first capital of Upper Canada, established by only by the need for space for Loyalist troops during the American Revolution and today is a tourist attraction, but in the recent cold weather, the streets were fairly empty which was nice for shooting.

Prince of WalesSanta Shaw?Drugs Galore!A Tower

Technical Details:
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Ilford FP4+ @ ASA-125
Kodak D-76 (Stock) 8:30 @ 20C

CCR:FRB – Review 02 – Japan Camera Hunter StreetPan 400

CCR:FRB – Review 02 – Japan Camera Hunter StreetPan 400

A modern re-imaging of an Agfa surveillance stock, StreetPan has been a favourite of mine for some time, and it is incredible in 35mm, but it sings in 120. Back when news of Streetpan first dropped, there were plenty of rumours floating around about the source of the film. Many naysayers said that the supply would be limited as it was just repackaged dead-stock. And while many still rail against the film, I for one enjoy shooting the film, and it’s great for street photography, architecture and landscape. Just don’t shoot it for long exposure, it loves the light and doesn’t handle long exposures.

CCR:FRB - Review 02 - JCH StreetPan 400
The Lowdown
Type: B&W Panchromatic
Film Base: Polyester
Film Speed: ASA-400, Latitude:
Formats Avaliable: 135 (35mm), 120

Roll One – Kodak HC-110
My first experience with shooting and developing Streetpan involved HC-110 and since that first point of pulling the roll of film out of the tank, I know that HC-110 is an ideal developer for the film stock. HC-110 give the contrasty punch the film needs to show off the wonderful contrast and fine grain of Streetpan. But don’t let the nature of HC-110 scare you, the developer brings out all the grey scale the film has to offer. While officially there’s only Dilution B listed on the Streetpan Developing chart, you can adjust the times and dilutions to suit your needs from B, E, even F and G can be done just do the right math to get the proper times.

CCR:FRB - Review 02 - JCH StreetPan 400CCR:FRB - Review 02 - JCH StreetPan 400CCR:FRB - Review 02 - JCH StreetPan 400CCR:FRB - Review 02 - JCH StreetPan 400

Technical Details:
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – JCH Streetpan 400 @ ASA-400
Kodak HC-110 Dil. E 7:30 @ 20C

Roll Two – Kodak TMax Developer
I first turned to using TMax Developer with Streetpan by fellow film photographer and friend Ori. While hesitant at this, I programmed the time into the Massive Dev Chart App. Sadly I never got around to using it. While some might question using a t-grain developer on a film based on a classic emulsion, I am rather impressed! While you don’t gain or lose anything by using the developer I can say having another option for a less than ten minute developing time for this film is a good thing. It knocks the contrast back a bit, but you don’t lose the sharp, fine grain attributes the film. Certainly a good option for developing Streetpan!

CCR:FRB - Review 02 - JCH StreetPan 400CCR:FRB - Review 02 - JCH StreetPan 400CCR:FRB - Review 02 - JCH StreetPan 400CCR:FRB - Review 02 - JCH StreetPan 400

Technical Details:
Mamiya m645 – Mamiya-Sekor C 35mm 1:3.5 N – JCH Streetpan 400 @ ASA-400
Kodak TMax Developer (1+4) 9:00 @ 20C

Roll Three – Kodak D-76
While initially unsure about this combination as the negatives were dark coming out of the tank. Of course, I soon realised that this is something that does happen with Streetpan, especially with the Dilution B times of HC-110. I would leave my final judgement until after the scan. While not my favourite developer with this film, D-76 doesn’t do a bad job, you still get the rich contrast the film is known for and gives a beautiful chrome look to it, yet the grain is a bit more noticeable. Still, it does a good job. However, I’d give an extra 30 seconds to help bring out the shadows a bit more. Or the meter on my Rolleiflex might finally be starting to die.

CCR:FRB - Review 02 - JCH StreetPan 400 - Roll 03 (Kodak D-76)CCR:FRB - Review 02 - JCH StreetPan 400 - Roll 03 (Kodak D-76)CCR:FRB - Review 02 - JCH StreetPan 400 - Roll 03 (Kodak D-76)CCR:FRB - Review 02 - JCH StreetPan 400 - Roll 03 (Kodak D-76)

Techincal Details:
Rolleiflex 2.8F – Carl Zeiss Planar 80mm 1:2.8 – JCH Streetpan 400 @ ASA-400
Kodak D-76 (1+1) 10:30 @ 20C

Roll Four – Rodinal
Rodinal is one developer that I have given up on in the past and returned to once again and this second time around I’ve found that there is a lot that it can do. And when it comes to Streetpan, it is equal in my books to HC-110 for souping this film. Despite being a 400-speed film, you don’t notice any real uptick in grain, and the contrast is spot on, if not slightly better than HC-110. It doesn’t matter if you use 1+25 or 1+50, there is little difference in the negative, save slightly less contrast with the lower dilution.

CCR:FRB - Review 02 - JCH StreetPan 400 - Roll 04 (Rodinal)CCR:FRB - Review 02 - JCH StreetPan 400 - Roll 04 (Rodinal)CCR:FRB - Review 02 - JCH StreetPan 400 - Roll 04 (Rodinal)CCR:FRB - Review 02 - JCH StreetPan 400 - Roll 04 (Rodinal)

Technical Details:
Rolleiflex 2.8F – Carl Zeiss Planar 80mm 1:2.8 – JCH Streetpan 400 @ ASA-400
Blazinal (1+25) 10:30 @ 20C

Final Thoughts
Streetpan is a black & white film for this hybrid era, the polyester base lies flat on your scanner, and the range of this film lets you pull out incredible detail in a digital editor. How well this film prints in a traditional darkroom I have yet to determine but I hope to let you know soon. Personally, my choice of developers are HC-110 (especially dilution F), Rodinal, and TMax Developer. While I haven’t tried the film in something like Pyrocat-HD or D-23, I feel the film would respond well to Pyro. Good thing I have two rolls left for experimentation. For outdoor shooting, this film is beautiful because it loves the light. I have tried it indoors with poor results. It might have something to do with the unknown reciprocity failure variable or the increased red sensitivity inherent in the film. But for photographers who do a lot of outdoor portrait work and street photography, Streetpan is something new and different. You can pick up Streetpan directly from the JCH Store additionally for my Canadian readers, you can pick StreetPan up at Downtown Camera in Toronto or BuyFilm.ca!

CCR:FRB – Review 01 – Kosmo Foto Mono 100

CCR:FRB – Review 01 – Kosmo Foto Mono 100

At your first glance, you see this Soviet Styled space-age packaging, and you know you’re in for a treat. Mono 100 is the new player on the block, a Panchromatic ASA-100 speed B&W Film. When I first learned that Kosmo Foto was working towards releasing a brand new film I jumped. While the Soviet-styled look will draw you in, the contents of the film itself will make you want to shoot more and more of the film stock.

CCR:FRB - Review 01 - Kosmo Foto Mono 100

The Lowdown
Type: B&W Panchromatic
Film Base: Acetate
Film Speed: ASA-100, Latitude: ASA-50 to ASA-400
Formats Avaliable: 135 (35mm)

Roll 1 – Rodinal
Before I start, I’ll have to confess I went completely off spec for this first roll of film. The trouble, at least for me was, it’s been drummed into my head that you get poor results for developing times less than five minutes (well I did soup Tri-X in HC-110 Dil. B for 4.5 minutes for many years before switching). So when the chart for Mono 100 noted the Rodinal time was 3.5 minutes for 1+25 dilution my brain screamed at me. I then sat down, did a bit of math, looked at another ASA-100 film and decided to use a 1+50 dilution, double the time and add thirty seconds. I honestly did not expect it to work, but it did. As for the results, well they speak for themselves. Mono 100 has rich tones across the spectrum, incredibly fine grain, something I wasn’t expecting.

CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 01 (Rodinal)CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 01 (Rodinal)CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 01 (Rodinal)CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 01 (Rodinal)CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 01 (Rodinal)

Technical Details:
Nikon F5 – AF Nikkor 50mm 1:1.4D – Kosmo Foto Mono 100 @ ASA-100
Blazinal (1+50) 7:30 @ 20C

Roll 2 – Kodak D-76
I never thought I would say this, but Mono 100 sings in D-76, I was again surprised at the short time for a diluted D-76, but in this case, the time is spot on. Not to mention D-76 shows off exactly what Mono 100 can do, smooth beautiful tones, and makes the world look right, the perfect monochromatic image. Especially with a deep yellow filter in front of the lens. There is some noticeable grain, but nothing that isn’t too bad.

CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 02 (Kodak D-76)CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 02 (Kodak D-76)CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 02 (Kodak D-76)CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 02 (Kodak D-76)

Technical Details:
Nikon F90 – AF Nikkor 35mm 1:2D (Yellow-15) – Kosmo Foto Mono 100 @ ASA-100
Kodak D-76 (1+1) 9:00 @ 20C

Roll 3 – Kodak TMax Developer
And the hits just keep on coming, Mono 100 responded perfectly to TMax Developer. As a developer, TMax and I have a hit-and-miss relationship. When I like it, I like it, when I don’t, I sort of use up the rest of the bottle reluctantly and then let it be for months. But in light of doing all these film reviews, it seemed only fair to give it a go. While I noticed a drop in contrast and a bit more of an uptick in grain it really is not a bad pairing.

CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 03 (TMax Developer)CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 03 (TMax Developer)CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 03 (TMax Developer)CCR:FRB - Review 01 - Kosmo Foto Mono 100 - Roll 03 (TMax Developer)

Techincal Details:
Contax G2 – Carl Zeiss Planar 2/45 T* – Kosmo Foto Mono 100 @ ASA-100
Kodak TMax Developer (1+4) 5:30 @ 20C

Final Thoughts
When it comes to new films these days I am a bit wary. When I first learned about Mono 100 I figured we’d get a polyester base grain fest. Of course, that is not the case, I’m not knocking polyester based films they just can be a bit hard to handle. The film reminds me of how Svema Foto 200 handles, with smooth realistic tones, excellent response to contrast filters and just makes the world look right. While I’m still not sold on a 3.5 minute time in Rodinal 1+25, I’m sure it turns out fine, just be ready with that stop bath! But for me the one thing I see as a problem is the lack of HC-110 times, in fact, you are dissuaded from using HC-110 with the film. Of course, if I had a couple more rolls I’d be souping it in Dilution B just to see what happens. But if I were to give two solid developers for Mono 100 I would say Rodinal and D-76 are the clear winners. Currently, the only way to get Mono 100 is to directly order it from Kosmo Foto, kosmofoto.com/product/kosmo-foto-mono-film/ current they’re out of stock but we hope to see some fresh product soon!

A Winter’s Walk

A Winter’s Walk

What do you do when you have a morning to kill and your clients cancelled their Christmas photoshoot? Why you gather up your fellow podcast hosts and hit the streets!

CCR - Hosts Only WalkCCR - Hosts Only Walk

It’s always fun to hit the streets to test out a new camera and lens combo like the Mamiya m645 plus the stupidly wide 35mm lens. The quick morning walk was exactly what I needed to clear my head and hang out with my awesome co-hosts, John, James, Mike, Donna, and Bill. And despite having shot through the old section of Oakville many times, it’s always good to make a return to see if your eye catches anything new.

CCR - Hosts Only WalkCCR - Hosts Only Walk

I also had the chance to hit up two local spots, Tribeca Coffee and the new location of Bru. Both of which are well worth the visit. Good Coffee, Good Food, Good Friends, you can’t ask for anything better to kick off the Christmas holiday season.

CCR - Hosts Only WalkCCR - Hosts Only Walk

Be sure to check out Bill’s photos from the walk as well! He got to test out his newly repaired Rokkor 58mm f/1.5 lens!

Technical Details:
Mamiya m645 – Mamiyia-Sekor C 35mm 1:3.5 N – Kodak Tri-X Pan @ ASA-200
Blazinal (1+50) 9:00 @ 20C

Return of the FP4Party

Return of the FP4Party

Well, looks who’s back! It’s the FP4Party! This time around I have no outstanding projects so unlike in the final FP4Party I can actually work hard on this one, unlike the last time I gave a rather lack-lustre performance. I sat down early and planned out my week, collecting five ideas of where to shoot and what I wanted to shoot with. The film, of course, a favourite of mine, Ilford FP4+. I came up with one roll of 35mm, three rolls of 120 and a box of 4×5. Now in the past, I’ve usually stuck to one day of shooting for these parties. But after the third month of the Delta Def Jam, I realized it can be a lot more fun to get out there and shoot over the course of the whole week and really get into the event. I wasn’t going to let the weather stop me and managed to get a solid seven days of shooting! The final count is 20 sheets of 4×5, all three rolls of 120 and then a roll of 35mm. With a bit of planning, I had everything processed in three days and three days worth of scanning and post-processing.

Day One – White Christmas – Oakville
It might be the first week of December, but for me, the Christmas season is in full swing. So why not head down to lovely downtown of Oakville, Ontario. Beautiful old homes and 19th Century charm to go with the large Christmas tree in the middle of the downtown. It helps me dream a little bit of a White Christmas. Plus it gives me a chance to escape from work just a little bit.

AD 1877StarbucksClean Lines

Day Two – If It’s Love – McCraney Valley Park
When you work in IT and also have a love of Photography, and you have access to plenty of amazing spots to take photos. Including one that has appeared many times in my work, McCraney Valley Park, located just behind the Sheridan Trafalgar Campus. But unlike many other times I’ve photographed this little gem, I made a point to get in close, shooting nothing beyond f/16 just to show off the nice out-of-focus areas that my large format lenses can produce. If it’s love, why not shoot with it! I decided to stand-develop this film, while not my usual method its one that’s been coming back into my technique drawer.

Organic By NatureThe Claw!A Gently Running Stream

Day Three – Empty Streets – 4th Line/Omagh
If you look hard enough around the rural areas of Oakville and Milton you’ll discover that there are lots to explore. From the empty streets of the 4th line, now Glenorchy Conservation Area, to empty farmhouses in the village of Omagh. Not everything has been knocked down. While the 4th Line was shot at the noon hour, the abandoned buildings were better lent to the dying light of the day. Nothing like a seven-minute exposure in minus seven-degree celsius weather. But totally worth it!

The Old Road16 Miles The Robertson FarmThe 5th Line Farm

Day Four – Rather Be – Milton
For a few years, I did my hardest to escape my hometown. Of course this was all in vain, because I was never meant to leave when I wanted to, and today, by the Grace of God alone, my staying has been a blessing for me, as by staying I met my future wife, fell in love, got married and now there’s no place I’d rather be.

Brick and StoneStone CottageSt. Pauls

Day Five – River Constantine – Limehouse
While the river that once powered a mill and the lime kilns at Limehouse is no River Constantine, it still provides a quiet place to sit, walk, and enjoy the deepness of winter and nature. Not to mention it’s a rather a rather special place for me and my wife.

A Limehouse SaturdayA Limehouse SaturdayA Limehouse Saturday

Day Six – Beyond the Veil – Erin
The small town of Erin is another gem along an old provincial highway, now often missed because of freeways. But if you look Beyond the Veil of speed, and just want a lazy drive with a comfortable place to stop, walk, and enjoy then maybe take a scenic route.

Downtown ErinDowntown ErinDowntown Erin

Day Seven – Winter Wonderland – Belfountain
Well we’ve reached the end point of the party and if you’ve been tracking my locations on the map you’ll see I’ve moved from south to north and found myself in my favourite Winter Wonderland, that of Belfountain. I first learned of this little quiet area thanks to Bill Smith, and if I remember correctly I ran into him once in the quiet winter. Officially, the conservation area is closed in the winter, but you can still access it. Not to mention the beautiful little village that surrounds the area. Sadly by the start of December, it wasn’t much of a winter wonderland, but still a good spot!

AntiquesThe CascadeThe Village Church

Thank you for partying on with me as we journeyed through Ontario using one of my favourite film stocks that is still produced. Ilford FP4+, in a previous entry you’ll see that FP4+ is going to play a big roll in the new year as the film of choice for the Project:1867 – Acts of Confederation Project which kicks off in a couple weeks!

Technical Details:
Day One – Downtown Oakville, Ontario
Mamiya m645 – Mamiya-Sekor C 150mm 1:3.5 N – Ilford FP4+ @ ASA-125
Kodak HC-110 Dil. B 9:00 @ 20C

Day Two – McCraney Valley Park Park – Oakville, Ontario
Pacemaker Crown Graphic – Schneider-Kreuznach Symmar-S 1:5.6/210 – Ilford FP4+ @ ASA-125
Blazinal (1+100) 60:00 @ 20C

Day Three Pt.1 – Glenorchy Conservation Area, Formerly 4th Line, Oakville, ON
Pacemaker Crown Graphic – Fuji Fujinon-W 1:5.6/125 & Kodak Ektar f:7.7 203mm – Ilford FP4+ @ ASA-64
Pyrocat-HD (1+1+100) 8:00 @ 20C

Day Three Pt.2 – Omagh, Ontario
Pacemaker Crown Graphic – Fuji Fujinon-W 1:5.6/125 – Ilford FP4+ @ ASA-100
Kodak D-23 (Stock) 6:00 @ 20C

Day Four – Downtown Milton, Ontario
Nikon FA – AI Nikkor 28mm 1:3.5 – Ilford FP4+ @ ASA-100
SPUR HRX (1+20) 9:30 @ 20C

Day Five – Limehouse Conservation Area – Limehouse, Ontario
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Ilford FP4+ @ ASA-125
Blazinal (1+25) 9:00 @ 20C

Day Six – Downtown Erin, Ontario
Rolleiflex 2.8F – Carl Zeiss Planar 80mm 1:2.8 – Ilford FP4+ @ ASA-100
Kodak D-23 (Stock) 6:00 @ 20C

Day Seven – Belfountain, Ontario
Pacemaker Crown Graphic – Fuji Fujinon-W 1:5.6/125 – Ilford FP4+ @ ASA-64
Pyrocat-HD (1+1+100) 8:00 @ 20C

CCR Review 75 – Ricoh Diacord L

CCR Review 75 – Ricoh Diacord L

I’ve always found the TLR to be an enjoyable camera to operate. From my very first Lubitel 2, the Yashica-12, and my current Rolleiflex 2.8F. The waist level finder, the dedicated finder lens and near silent operation. Of course, for the average photographer, the two brands that come to mind when it comes to TLRs is Rollei (both flex and cord) along with Yashica. But if you just stuck with these two brands you just might miss out on several other options, one being the Ricoh Diacord. The model under review today is the Diacord L, L standing for lightmeter. While the Diacord could never stand up to the heavy hitters from Rollei, it certainly can hold its own against Yashica and Minolta. Thanks to Mike Bitaxi for loaning the Diacord out for review.

CCR Review 75 - Ricoh Diacord L
The Dirt

  • Make: Ricoh
  • Model: Diacord L
  • Type: Twin Lens Reflex
  • Format: Medium (120), 6×6
  • Lens: Fixed, Rikenon 1:3.5 f=8cm
  • Year of Manufacture: 1957

CCR Review 75 - Ricoh Diacord LCCR Review 75 - Ricoh Diacord L

The Good
Most users of TLRs are used to having a focus knob on the side of the camera, however, with the Diacord this has been replaced with a see-saw control that operates by an up and down motion to set the focus. While this works great for wide focusing, but is a bit tricky for fine adjustments, but I’m sure with some practice it can be achieved. The camera, despite having a meter does not require a battery as the meter is selenium based and the name badge flips up to reveal it, this means that even with the age of the camera most will have functioning cells as they’re kept in darkness. Weight wise, the camera is lighter than my Rolleiflex, and with a decent strap, it can be carried around without any pain or effort for a day’s worth of shooting. Plus don’t let the light weight fool you, the Diacord has a good build quality. Finally, let’s talk optics, I’ve reviewed several Ricoh built cameras and lenses, and the optical quality of the Rikenon glass is excellent. And even with a f/3.2 finder lens, the viewfinder is nice and bright even in the dim dusk light of the four o’clock hour.

CCR Review 75 - Ricoh Diacord LCCR Review 75 - Ricoh Diacord L

The Bad
Despite my enjoyment of TLRs, the Diacord has some serious points that turn me away from the camera. The first is the film advance; the press-release advance is something that I find annoying in all cameras. If you do it wrong, you either advance the film too far and mess up frame spacing or do damage to the camera itself. Either way, it’s a mechanism that is not needed as there were already several tried and true crank based options on the market. While the camera does have a solid light meter, the exposure settings are frustrating, as the shutter speed and aperture settings are not fully independent of each other, and the meter itself hand to read and understand. Even with using my Gossen Lunasix F, setting the camera is a troublesome task.

CCR Review 75 - Ricoh Diacord LCCR Review 75 - Ricoh Diacord L

The Lowdown
Both the good and the bad seem to balance each other out on this camera leaving me on the fence. I can remember my first exposure to the camera back on the first Mystery Camera Challenge for the Classic Camera Revival Podcast, where we ended up naming the camera the Ricoh DOAcord. The trouble is that the camera is of a certain age that a CLA (Clean, Lube, Adjust) is well needed to ensure proper operation. In fact, before I took the camera out I had to run the shutter several times before it could release. Despite the solid optics and easy use of the camera, I cannot truly recommend it. I’ll have to say you’d be better off getting a Yashica 124G or Minolta Autocord before a Diacord.

All Photos Taken in St. Mary’s Pioneer Cemetery, Oakville, Ontario
Ricoh Diacord L – Rikenon 1:3.5 f=8cm – Kodak Tri-X 400 @ ASA-200
Blazinal (1+50) 9:00 @ 20C