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If you’re a long time listener of the Film Photography Podcast, this camera would be one of the more familiar ones, especially the iconic sound bite by Dan Domme, “Agfa Clack.” The camera earns its name by the clack sound the shutter makes, compared to the Agfa Click, also named for its shutter sound. Despite having many amazing cameras that perform perfectly, I have a soft spot for box cameras, so I started looking for an Agfa Clack after getting the Click-II. I should also note that the Clack is known as the Agfa Weekender in US Markets. Camera Specifications Make: Agfa Model: Clack Alternatively:Read More →

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If you’ve followed my photography journey, one of the first developers that became a favourite is Kodak HC-110, which switched to Ilfotec HC last year when I finished off my final bottle of the OG HC-110. But sometimes, you have to send in the clones. I’ve been aware of LegacyPro, and other clones HC-110 developers for some time but have never thought to give them a try. But after learning that Ilfotec LC29 is a variant of Ilfotec HC, I made a point to try L110. L110 is HC-110 but in an easier to pour format. To make the point that it will perform exactlyRead More →

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When it comes to assistance with long processing times or the need for constant agitation, there aren’t that many options out there today. Sure there is the original Jobo system, but these are completely closed systems that often carry a high startup cost. And on the opposite end of the spectrum are the Besler and Unicolor Cibachrome bases and tanks. But what about something new, using modern solutions. Last year I had the chance to try out one such system, the AuRA film processor, and it certainly made an impression on me and my processing. Sadly these aren’t yet for sale, and given the technologyRead More →

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It’s been a long road getting Silberra films; from their initial crowdfunding campaign, delays, communications blackouts, and other released products, I doubt I will ever see any of the 120 films I initially backed. But then I got word that I shouldn’t expect them, and I was offered up an alternative, replacing the rolls of 120 of Pan50 with rolls of 35mm. I’ve wanted to try this film for a while now, so I jumped. And the rolls arrived in a timely fashion; sadly, because there has been almost no stock reaching the wider world, there is not much information online, including processing times. Thankfully,Read More →

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When it comes to Ilford developers here in North America, we have access to most of their chemical stocks. But there is one that is a bit of a unicorn, and that is Ilfotec LC29, and I can’t see why! This is a developer that, despite being close to Ilfotec HC, does not produce images in line with what Ilfotec HC produces, and it is far easier to pour than Ilfotec HC! I splashed it a little bit at how easily it flowed. Right from the start, I knew I had a winner here in LC29 and feel bad that it isn’t readily available hereRead More →

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This month, we’re sticking to an X-Ray theme with a new film stock from Film Washi. While I use the term ‘new’ only to indicate that it is a newly available stock through Film Washi. I found this film through the Film Photography Project Store through their email newsletter and was drawn to the fact it was available in 120 formats, so I jumped at the chance. The film stock was initially used for industrial non-destructive tests like welding quality checks. Being coated on each side of its thick blue polyester base and without an anti-halation layer will give the pictures a unique look. AndRead More →

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When it comes to fixed telephoto lenses, something is satisfying about these lenses, while they may not always be the ideal lens in a situation. When I first picked up that kit, the lenses that I got were a Soligor 200mm f/4, and it was the first lens I used when shooting my first roll of film. And for many years, I was happy with having only the 135mm f/2.8 in my manual focus Nikon kit. Then a chance at a 200mm f/4 brought me back to my first SLR, the Minolta SR-T 102. , That lens puts the Nikkor 200mm f/4 to shame inRead More →

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In the 1990s, a particular bread of camera was cheaply made, often in mass quantities and questionable quality. While many have been passed off these days as cheap and trash cameras, some achieved a bit of a cult following. One such camera was the Vivitar Ultra-Wide & Slim (VUWS). Vivitar never made the camera itself; instead, it was marketed and sold under the name. And actually, I don’t think Vivitar ever made anything of their own. What set the UWS apart from the other contemporary trashcams of the 1990s; it featured a simple 22mm f/11 ultra-wide lens, something that most well made point-and-shoot and toyRead More →

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I like a camera with history, something unique, a variant or a failed move forward. While I’m a Nikon shooter, Nikon cameras are fairly dull in the broader picture of photographic history. Sure, Nikon cameras often set the standard for photography and technology, but they often played it safe. On the flip side, Canon tried different things, they experimented, and sometimes it worked. Other times it was too early. The Canon Pellix is a fine example of the engineers at the company in the 1960s who wanted to try everything to improve photography. Sadly they were several decades ahead of the game. Thanks to OriRead More →

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There’s something fun about getting back to the roots of your photography and combining it with the monthly challenge from my friends over at Embrace the Grain Podcast. The film of the month for February was Lomography Metropolis. Their third and, in my opinion, the most accessible in their false-colour film offerings. Despite my February being thrown for a loop, I managed to get out on one on the last days of the month to get the roll shot. It was also a complete surprise to have one roll sitting in storage that I recently received in a film subscription box. But what roots amRead More →