Tag: Pyrocat-HD

I Will Remember

I Will Remember

Here, at the end of history, we know that the war that is The Great War would only last one more year until on the 11th day of the 11th month at the 11th hour the guns across Europe would fall silent. But one hundred years ago they did not know that.

Least We Forget

The men and women who served, in another 100 years will they names be read aloud by the public? Will their names still be remembered? Will our grandchildren know of the sacrifice of those who died 200 years before? Will there be the same fanfare of sober celebration?

In Memorial

I don’t know about then, that’s the future, I’m here now, and I know that I will remember. And I take my duty actively to make sure the generation after me remembers as well.

Least We Forget

Because if I forget, how can the future remember?

DO:T 2017 - Church of the Redeemer

All the photos featured here were taken in 2017 of war memorials I have photographed in my travels. The icon on social media is a simple 3D replica of a carving found in the tunnels beneath Vimy Ridge in France. I hope you, dear reader, take the time to attend a ceremony tomorrow or take a moment to be silent and remember at 11 am. If you need to know where you can attend such a ceremony in Ontario, you can find the details on the Ontario Government Site.

They shall grow not old, as we that are left grow old;
Age shall not weary them, nor the years condemn.
At the going down of the sun and in the morning
We will remember them.
We will remember them.

Technical Details (From Top to Bottom)
Cambridge, Ontario – Downtown Galt
Pacemaker Crown Graphic – Kodak Ektar f:7.7 203mm – Rollei RPX 25 @ ASA-25
Kodak HC-110 Dil. B 5:00 @ 20C

Toronto, Ontario – Kew Gardens
Nikon FA – AI-S Nikkor 50mm 1:1.4 (Yellow-15) – Efke KB 100 @ ASA-100
Pyrocat-HD (2+2+100) 8:00 @ 20C

Oakville, Ontario – Georges’ Square
Nikon F5 – Lomography Achromat 64mm/2.9 (Orange-22) – Efke KB100 @ ASA-100
Kodak D-23 (Stock) 7:45 @ 20C

Toronto, Ontario – Church of the Redeemer
Nikon F5 – AF-S Nikkor 70-200mm 1:2.8G VR – JCH Streetpan 400 @ ASA-400
Blazinal (1+25) 10:30 @ 20C

Five Rolls – A Journey of HP5+

Five Rolls – A Journey of HP5+

If you’ve ever listened to me talk about film, you’ll know there are some films I have a strong view. I love my Kodak Tri-X and JCH Streetpan 400; then there are the ones I’m not too happy with, that is Ilford HP5+ in 35mm and Delta 400 in general. But what if I could change my mind on just one? Would it give me another tool in the kit to use to get a specific look? Could I shoot four rolls of a film stock and come to like it, even go as far as recommending it? Challenge Accepted.

That film isn’t Delta 400, I don’t think I’ll ever grow to like the stock actually I just developed Delta 400 in Kodak D-23 and it turns out it’s not a bad film stock either, but I feel HP5+ can be one that I just might be able to. So I’ll give it a shot, get five rolls of the stock, load it up into trusted cameras, visit suitable locations, and then pick developers I’ve never used with 35mm HP5+ and go to town.

Roll One: SPUR HRX
I got the idea of using SPUR HRX after looking on Flickr after Tony posted a question on the Toronto Film Shooters Group. Tony had asked for developer recommendations for HP5+ and Mike suggested SPUR HRX. To be fair in this case, I also pushed the film a little bit more than an average day of shooting. I shot the roll indoors in a sort of abandoned, or rather closed campus of Sheridan College. I figured, if I’m going to learn to like the film, I might as well take it into a familiar situation for me.

Registrar

Bravo Six

Leftovers

The Moody Darkness

The results they speak for themselves, the images are dark, moody, and the contrast is rich. Not surprising given the lighting conditions. I did note that there a more substantial grain pattern, but using a sharp developer on a 400-speed film will do that, but it isn’t anything worth complaining.

Roll Two: Pyrocat-HD
When in doubt just run with a Pyro developer. I started working with Pyro based developers after seeing some of the amazing work Mat Marrash has been doing with HP5+ in 8×10 and this developer. Having some early morning light in Toronto, I loaded up the roll into my trusty Contax G2 and went to town!

Toronto - September 2017

Toronto - September 2017

Toronto - September 2017

Toronto - September 2017

When I pulled the negatives out of the tank, I noticed something different, something I had only seen with Kodachrome. Yes, the layers of exposure on the film had a relief to them, as if the silver had been hand etched onto the film base itself. And then into the scanner and you saw this clean three-dimensional image, smooth tones and no grain at all.

Roll Three: Kodak D-23
One of the first developers I ever used was Kodak D-76, it was at the time the preferred developer of my teacher Julie Douglas. While I have only used a single jug of the stuff since, I have latched onto its cousin, the slower acting D-23. I’ve souped plenty of film stocks in it and like how it makes Tri-X look, so I figured it would be a good candidate.

Nature Trail...

Roughing It

Taking on the CRAIG

Take a Seat

I really liked D-23, it performed as I expected it would give the usual smooth tones all the way through the grayscale. Indeed an excellent choice for the film. I’m now hankering to try this with medium and large format versions of HP5+.

Roll Four: Kodak Microdol-X
I happened across this developer completely by accident during my 52-sheet project and came to enjoy using it. While an older Kodak developer again, and not available under the Kodak name, but Legacy Pro has their Mic-X which is the same. Microdol is a fine grain soft developer so it should be able to work a bit of magic.

The Masons

Back to the War

Lighting the Way

Pick Me Up

I honestly don’t know what went wrong with these photos. They all seemed overexposed. The camera, my Nikon F5 has a solid meter, the ASA/ISO setting was correct. Maybe it was the Orange-22 filter I used or the harsh sunlight. I had to work some post-processing magic on these. I think that I need to reduce the developing times by 1 minute or give the film a slight pull to make Microdol-X work.

Roll Five: Kodak HC-110
When you’re having trouble with something, how about going back to an old friend. Kodak HC-110 is one of two developers I have not stopped using since I started developing my own black & white film. The other is Rodinal, but not wanting to give the film one hell of a pull, I figured HC-110 in the standard Dilution B would be a good way to help out.

Blown Open

Eroded Away

Follow the Rails

Sun Dappled

HP5 sings with HC-110, you get to see how sharp the film stock is with this Kodak developer, and the contrast is dead on point even in the strange lighting conditions that are a sun-dappled forest at high-noon. While not exactly the best time to be out shooting it provides a real test for what a film and developer can do, and HC-110 is a sure winner in this case.

When I first set out to shoot these five rolls of HP5+ I went into it thinking I didn’t like the film stock in 35mm, however, upon shooting these five rolls I realised that I did like the film, I had just had some bad encounters with it in the past. In the end, it’s a solid film stock one that I will use in the future because I won’t always be able to find Kodak Tri-X, and now I have several developing options. I also plan on trying to perfect that Microdol-X time/speed issue.

Technical Data:
Roll One: Sheridan College, Skilled Trades Centre, Oakville, Ontario
Nikon F5 – AF-S Nikkor 14-24mm 1:2.8G – Ilford HP5+ @ ASA-400
SPUR HRX (1+17) 11:00 @ 20C

Roll Two: Toronto, Ontario
Contax G2 – Carl Zeiss Planar 2/45 T* – Ilford HP5+ @ ASA-200
Pyrocat-HD (1+1+100) 9:00 @ 20C

Roll Three: Rattlesnake Point, Milton, Ontario
Nikon F2 Photomic – AI-S Nikkor 50mm 1:1.4 (Yellow-12) – Ilford HP5+ @ ASA-400
Kodak D-23 (Stock) 7:30 @ 20C

Roll Four: Ancaster, Ontario
Nikon F5 – AF Nikkor 50mm 1:1.4D (Orange-22) – Ilford HP5+ @ ASA-400
Kodak Microdol-X (Stock) 11:00 @ 20C

Roll Five: McCraney Valley Park, Oakville, Ontario
Nikon FA – AI-S Nikkor 35mm 1:2.8 (Yellow-12) – Ilford HP5+ @ ASA-400
Kodak HC-110 Dil. B 5:00 @ 20C

One More Time – Efke Film

One More Time – Efke Film

If you’ve been doing the film photography thing for some time now, you’ll have heard about a classic film emulsion, that is Efke. Efke, a brand name of the film from the Croatian firm, Fotokemika, is a silver rich panchromatic film that gives any images a classic look. This classic look is because the film using a traditional grain structure has a high silver content, and only uses a single emulsion layer. Sadly, when Fotokemika closed their doors due to the age of their equipment and the cost of continuing to maintain the machines, it not only killed the Efke line of films but Adox as well. And while Adox bounced back and still supports a decent number of film stocks such as CHS 100 II and CMS 20 II, Efke has remained buried. And while you can’t buy new stock Efke, a gentleman in Croatia happened across a warehouse worth of Efke 100 film in 35mm and began selling it on eBay. I jumped on this and bought a brick. Of course, I’m not one to horde film or save it for a rainy day.

Product Highlights

  • Type: Panchromatic B&W Film
  • Base: Polyester
  • Film Speed: ASA-100
  • Formats Avaliable: 35mm/127/120/Sheet

This ain't no Baywatch
Nikon FA – AI-S Nikkor 50mm 1:1.4 (Yellow-15) – Efke KB 100 @ ASA-100
Pyrocat-HD (2+2+100) 8:00 @ 20C

When you could buy Efke films at your usual photographic supply stores, I tended to stay away from the 100-speed stock, going instead with the 50 and 25-speed films. In fact, I shot my final rolls of Efke 50 through 2015 to 2016; I even got a chance to shoot Efke 25 in 4×5 format having secured a short box from Burlington Camera’s Film Fridge. Now looking back through my Flickr search, Efke was a mainstay of my film fridge for a good seven years.

CCR Review 64 - Kodak Pony 135 Model C
Kodak Pony 135 Model C – Kodak Anaston Lens 44mm ƒ/3.5 – Efke KB 100 @ ASA-100
Kodak HC-110 Dil. B 5:30 @ 20C

When I had shot that final roll in March of 2016, I figured that was it! Fotokemika had shut down, Adox had begun to produce their film stock. Then, at the Winter 2017 Toronto Film Shooters Meetup, James Lee mentioned he had come across an eBay auction, the auction I referred to in my first paragraph. The game was afoot! Several folks around the table immediately upon returning home put in their orders. And sure enough, a couple of weeks later this well-wrapped package of film arrived from Croatia.

Let Fly!
Nikon F5 – AF-S Nikkor 70-200mm 1:2.8G VR – Efke KB100 @ ASA-100
Blazinal (1+50) 10:00 @ 20C

There is still enough information out there to develop the film, with most people going for Rodinal or HC-110 as their soup of choice. And yes Efke looks excellent in both those options, but I wanted to try something different. The one thing I was a little surprised that nowhere did I find a developing time for my favourite Kodak developer next to HC-110 that is D-23. There are D-76 times, so I had that at least as a base. A quick search online landed me back on the APUG site and found a thread with the exact question I was asking. After much consideration, I landed on seven minutes, forty-five seconds. It worked, and I was fairly pleased with the results.

Oh that Swirl
Nikon F5 – Lomography Achromat 64mm/2.9 (Orange-22) – Efke KB100 @ ASA-100
Kodak D-23 (Stock) 7:45 @ 20C

There is still more to go through; I gave Pyrocat-HD a try being my favourite developer period. PMK Pyro worked magic on Efke 25 and Efke 50, I wasn’t too much a fan of Ekfe 100 in Pyrocat-HD. If you are planning on giving Efke a try or happened across a brick of the stock, this isn’t a film for someone who is used to modern film. You will get more grain on this film that you would on Ilford FP4+.

Clean Lines
Nikon FA – AI-S Nikkor 35mm 1:2.8 (Yellow-12) – Efke KB 100 @ ASA-100
Blazinal (1+25) 6:00 @ 20C

If you do happen to enjoy this look, I know I do in certain situations like re-enactments or gritty street photography work; then you don’t have to fret too much. While Efke is gone, there’s still plenty of film stocks out there that can provide you with a similar look. There’s Adox CHS 100 II, I’ve shot this film only in 4×5 sheets and think it’s a beautiful film stock, and being 4×5 and while I haven’t picked up any 35mm stock I just may have to. But probably your best bet is to look at Fomapan 100, this film is a recent addition to my tool kit and provides a beautiful classic look especially souped in Rodinal and D-23.

Toronto Film Shooters @ The Beach

Toronto Film Shooters @ The Beach

The Beach neighbourhood in Toronto is not one that I have explored much. Sure I’ve done a wedding there, the 2015 spring Toronto Film Shooters Meetup happened here, had a week of my latest 52-Roll project there, and even recorded an episode of Classic Camera Revival out there. Okay, so maybe I have spent more time in the Beaches than I thought I had. But, it’s always fun to go and check out a part of the city I don’t often have a chance to visit. Bill Smith, while an Oakville resident often finds himself in the area, and offered to host a little photo walk in the area.

Wrong Stop

Bank Turned Retail

The Beach

The trouble was that I ended up taking the subway one stop further than I should have, also not realising that Main Street does not run all the way down to Queen Street. With a bit of jogging about I finally was on the right path to get to my first destination, the RC Harris Water Treatment Plant.

RC Harris

If you have a keen eye and a love of 1990/2000s Sci-Fi television you’ll probably recognise this place as the shadowy think-tank “The Centre” from The Pretender or the headquarters of the hacker Augur from Earth: Final Conflict. From there it was a short nine-minute walk to the meetup point, The Remarkable Bean, a lovely coffee shop nearly at the furthest stop on Queen Street.

Jumping Off Point

Wondering The Source

It turned out I hadn’t needed to visit RC Harris earlier in the day, as we headed back out to the iconic treatment plant, after sticking around there, it was off along the shores of Lake Ontario where the neighbourhood gets it the name, The Beach. While the chance of rain stayed small, we had to dodge the weather several times as we moved west along the beach, taking shelter mostly under the trees along the boardwalk.

Resovior Dogs

Cold Day for a Dip

Alone on the Rock

This ain't no Baywatch

At the historic Leuty Lifeguard Station, we drove north through Kew Gardens back to Queen Street returning to the urban environment. Our final destination on Eastern Avenue is a new craft-brewery in the city, Rorschach Brewing Co. You’ll need a keen eye, it’s easy to walk or drive right past this small historic home, and while it may look small from the outside, like a TARDIS, it is much bigger than it appears. Try their Black IPA; it’s my favourite.

Kew

In Memorial

No. 15

End of Line

If you’re in Toronto and have a love of film photography, we run these meets at minimum four times a year with a handful of specialised events scattered in between. You can find the Toronto Film Shooters on Facebook! It’s a closed group, but if your profile looks like you’re a fellow film nut, we’ll let you in!

All Photos Taken in Toronto, Ontario
Nikon FA – AI-S Nikkor 50mm 1:1.4 (Yellow-15) – Efke KB100 @ ASA-100
Pyrocat-HD (2+2+100) 8:00 @ 20C

Toronto Film Shooters – Summer 2017

Toronto Film Shooters – Summer 2017

Ah the dog days of summer, and yet there’s still the draw to get out, no matter the weather, and just enjoy shooting. This summer meeting saw me visit two areas of the city for some shooting. The first part of the meet was in a part of the city that I don’t often explore, the Riverside neighbourhood on the eastern side of the Don Valley. Fellow film shooter, Bill Smith, did the heavy lifting in planning out the meet. The day started with coffee at the lovely Rooster Coffee Shop. The whole area is a hidden gem in the city with lots to see and photograph. I decided that I would shoot with something a little different than I normally do at these meets, an 85mm lens, look for detail rather than the big picture.

Who the ... Uses a Payphone

Lost Shoe

The Riverdale Cannon

The Jupiter-9 lens is one that I had meant to shoot a little more often, but just never mounted it because it’s somewhat tricky with the double bayonet mount, unlike the standard 50mm lenses (Jupiter-8 and CZ Sonnar). But man it certainly is fun to get away from my usual fare of shooting wide, allowing me a little extra reach and being able to exploit creamy out of focus elements that the lens is known to produce and focus in on details rather than the big picture. Sadly the trouble with the Jupiter-9 is that it suffers from a bit of a focus issue and some shots that I was looking forward to were out. But such is life.

Meet at the Sign of the Rooster

Justice

PVBLIC

We made a point to stop by the Old Don Jail, now part of Bridgepoint Health and then it was east along Gerard Street. A visit, of course, was in order as we walked south on Carlaw to another shop that is close to a few folks in the group, WonderPens! WonderPens is a lovely mum & pop shop that specialises in fine writing. Ink, Pens, and Paper. With a trip to Disney and a historical photography project in the works for next year, it gave me a chance to pick up a couple of new notebooks. Because as you know, every new project needs a new notebook, right?

Wheeled Transport

Film & Fountain Pens

Finally Lunch

Back west we headed along Queen Street almost to where we started at Broadview, sadly the initial stop; Eastbound Brewery opens at 4 pm, so we were a little early to stop in for a taste of some of their beers. But Prohibition Gastro Pub provides a fantastic selection of beers from around Ontario and the world, even some of my favourite from Europe. After lunch, it was a change of pace.

Hot Dog Vendor

Resistance is Futile

But I had swapped out my Contax IIIa that I had been shooting with earlier in the day with the Crown Graphic. However, I was shooting it a little differently than I normally do. I decided to use the Crown as it historically been shot, handheld. Armed with eight sheets of Rollei RPX 400 film, I headed back out into the downtown core with the aim to make it out to the Distillery District.

The First Post Office

Always Watching

I never made it that far as I had shot all eight sheets when I hit the end of King Street where it merges onto Queen. My legs tired I hit up Eastbound Brewing to pick up their two offerings that are for sale before going back to the 3 Brewers for Dinner at Yonge/Dundas Square. A long day? Absolutely, worth it? Totally.

Eastbound

Technical Details:
Contax IIIa – ЮПИТЕР-9 85mm f/2 – ORWO UN54+ @ ASA-100 – Kodak HC-110 Dil. H 7:30 @ 20C
Crown Graphic – Schneider-Kruzenak Xenar 135mm f/4,7 – Rollei RPX 400 @ ASA-320 – Pyrocat-HD (1+1+100) 18:00 @ 20C

Black Creek – Party like it’s 1867!

Black Creek – Party like it’s 1867!

Without a doubt, there’s plenty to do in Toronto. And while many prefer to stay in the downtown core, there’s a particular draw to see what the city is like on the outskirts. One such location is right on city’s north line with Vaughn, and that’s Black Creek Pioneer Village. Black Creek is a living history museum, and a ‘false’ village in the sense that it is an amalgamation of many historical buildings from around Ontario gathered into one spot and dressed to look like a small settlement of the 1860s. If you’re a frequent reader of this blog, you may remember seeing this place as the backdrop for my review on the Mamiya Universal. After shooting at the village, I had wanted to return with a bigger camera. So having a week off with my wife, we decided to head over to the village for a morning.

BCPV - Broom maker Shop

The Province of Ontario, formerly known as Upper Canada before the Canadian Confederation of 1867 has a rich and long history. And I’m thankful that we have several museums around the province that make a point to preserve and teach about this history. I’ve been lucky to visit three such locations, Black Creek Pioneer Village, Westfield Heritage Village, and Upper Canada Village. A Fourth, the Lost Villages Museum remains on my hit list. But this post is about Black Creek Pioneer Village.

BCPV - Laskay Emporium

The village, formerly the property of Daniel Strong; you can visit his barn and other farm buildings. His original log cabin and larger home where he and his wife, Elizabeth, raised their eight children. The Strong Family continued to work the land well into the 20th-Century with the family farm forming the core of the museum in 1960. Over the next decade, the museum increased their inventory of historic buildings from around the Greater Toronto Area.

BCPV - Roblin's Mill

These are the types of museums that make history fun because they make it come alive. Heather and I had a chance to listen in on how one employee came up with her historic impression. Based on an actual person, she researched through the massive archives of historical data in the Provincial and City Archives to build her character. As a reenactor myself, I find this dedication amazing. She brought this one woman back to life here in the 21st-Century. Plus the commitment to ensure that many of these buildings are saved from demolition by the slow march of progress ensuring that our pioneer history isn’t lost.

BCPV - Half Way House

And of course, the highlight of the village is the historic brewery located in the basement of the Half Way House, a pre-confederation inn, and tavern from Scarborough. Where dedicated brew masters continue to use traditional techniques to create some of unique beers I’ve ever tasted. And yes, I brought a growler of their fantastic India Pale Ale back home with me.

All Photos Taken At: Black Creek Pioneer Village, Toronto, Ontario
Pacemaker Crown Graphic – Schneider-Kreuznach Xenar 1:4,7/135 – Kodak TMax 100 @ ASA-100
Pryocat-HD (1+1+100) 16:00 @ 20C

Summer Film Party – Part I (June)

Summer Film Party – Part I (June)

Not doing an overall film project over the course of the year has not stopped me from getting out and shooting and it’s freed me up to join in on the year’s film contests that the fine folks over at Emulsive have put on, well, for the most part, I joined in on their TMax Party for the two months, although I missed the Acros Party. But with the sun finally starting to shine I decided to make a point to get in on the Summer Film Party. Running the three summer months here in North America with June being the first up. Now the trouble is that the summer the light gets pretty harsh by the middle of the day, I made a conscious effort to get out earlier in the day before the sun got too high in the sky and the temperatures skyrocket. The first stop is the small village of Kleinburg located north of Toronto, Ontario and a part of the City of Vaughn. While the village downtown was rather busy I decided to head down into Bindertwine Park. Big Mistake. There was a 5K run happening along the trails, and the bugs were bad, four sheets into the eight I had brought along I was done. Between the bugs and the heat, I made my escape.

Sometimes I shoot Flowers
Some flowers along the path that a camera club was shooting.
Graflex Pacemaker Crown Graphic – Schneider-Kreuznach Symmar-S 1:5.6/210 – Rollei RPX25
Pryocat-HD (1+1+100) 12:00 @ 20C

High Voltage
While the trails through the park show a great piece of nature, but I do enjoy catching man’s influence on the natural environment.
Graflex Pacemaker Crown Graphic – Schneider-Kreuznach Xenar 1:4,7/135 (Orange) – Rollei RPX25
Pryocat-HD (1+1+100) 12:00 @ 20C

Tree By the River
A more peaceful scene than what I was actually feeling, itchy and sneezing.
Graflex Pacemaker Crown Graphic – Kodak Ektar f:7.7 203mm (Orange) – Rollei RPX25
Pryocat-HD (1+1+100) 12:00 @ 20C

I wasn’t going to let this stop me so Sunday morning before heading to Church I decided to finish off the remaining four sheets in downtown Milton specifically Victoria Park which sits just off of Main Street and our historic town hall the former county jail which was restored between 1982 and 1985 after sitting abandoned. Again I had been blessed with some beautiful morning light.

7.7 cm Feldkanone 96 neuer Art
Milton’s Great War Trophy, a German 7.7 cm Feldkanone 96 neuer Art, captured 28 September 1918 on the Arras-Cambria Road.
Graflex Pacemaker Crown Graphic – Kodak Ektar f:7.7 203mm – Rollei RPX25
Pryocat-HD (1+1+100) 12:00 @ 20C

The Victoria Park Gazibo
At the center of Victoria Park is the Gazebo, a great place to hold an outdoor concert.
Graflex Pacemaker Crown Graphic – Schneider-Kreuznach Symmar-S 1:5.6/210 (Orange) – Rollei RPX25
Pryocat-HD (1+1+100) 12:00 @ 20C

The Prison Yard
The former prison yard, now a garden, great for wedding photos or outdoor events.
Graflex Pacemaker Crown Graphic – Schneider-Kreuznach Symmar-S 1:5.6/210 – Rollei RPX25
Pryocat-HD (1+1+100) 12:00 @ 20C

Last year I completed a 52-Roll project using only Rollei RPX films, one of my favourites was RPX 25, so when a local film supplier brought in a small number of boxes of RPX 25 in 4×5 I jumped on the chance and then let it sit. I’m glad I saved the box and now that it’s cracked I hope to bring it out more this summer for large format fun! Of course, the film is hard to handle, thin polyester base, and the notch code isn’t always stamped out. It makes for trouble figuring out how to load it up. Part II coming next month, with the Hasselblad 500c, Ilford Pan F+, and Niagara-On-The-Lake!

Film Review – Fomapan 100

Film Review – Fomapan 100

With my film photography, I have had limited experience with the Fomapan products. I’ve shot Fomapan 200 with okay results and the surveillance variant of Fomapan 200 available through the Film Photography Project with much better results. I’ve tried Fomapan 400 in sheet film and got no results. But after seeing some amazing work with Fomapan 100, I decided to pick up four rolls in 120 from Argentix.ca to give it a try. I certainly found the film pleasing to work with, a classic response with the four different developers I worked with over the course of shooting the film in several different situations.

Product Highlights

  • Type: Panchromatic Black & White Film
  • Base: Format Dependent (120/4×5 – Clear Polyester (PE), 135 – Cellilous Triacetate)
  • Film Speed: ASA-100, with a latitude between ASA-50 to ASA-400
  • Formats Avaliable: 135, 120, and Large Format

Rusted Out
Hasselblad 500c – Carl Zeiss Distagon 50mm 1:4 – Fomapan 100 @ ASA-100 – Blazinal (1+50) 9:00 @ 20C

Opposing Doors
Hasselblad 500c – Carl Zeiss Distagon 50mm 1:4 – Fomapan 100 @ ASA-100 – Blazinal (1+50) 9:00 @ 20C

The number one good thing about Fomapan films is the cost; these are very inexpensive films to shoot which makes them a great film to start with if you’re learning to develop your own black & white film. But if you want the best bang for your buck, Fomapan 100 is the film of choice. And don’t think you’re getting a cheap film, Foma 100 is one of the nicest mid-speed films I’ve ever used. It has almost a classic look and film, like the films of the mid-twentieth century, great if you want to shoot World War Two reenactments on film.

Summit
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Fomapan 100 @ ASA-100 – Pyrocat-HD (1+1+100) 12:00 @ 20C

Grab a Pint?
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Fomapan 100 @ ASA-100 – Pyrocat-HD (1+1+100) 12:00 @ 20C

The developers I used for the review are as follows, Rodinal, Kodak D-23, Pyrocat-HD, and Kodak HC-110. It was Rodinal that brought out that classic look and feel, while slightly more grain than you’d expect in an ASA-100 film, but nothing too serious. I saw a reduction in grain using Pyrocat-HD, but I felt that the film came out of the tank slightly under-developed, so it either needs about thirty seconds more in the developer or slightly warmer water, maybe 1-2 degrees hotter. Kodak D-23 is another winner, a bit grainer but brought out the tonality of the film and continues that same classic look that you get with Rodinal. I was also fairly pleased with the results of HC-110 Dilution H, kept the contrast on mark, and surprisingly the grain was hardly noticeable. My final say is that Rodinal is the best developer for this film as it gives you the shortest standard developing times with the best results and can easily be done in the field as you can just use water for your stop bath. I say standard developing times as Dilution B and A of HC-110 has shorter developing times but requires constant agitation.

TFSM - Spring '17
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Fomapan 100 @ ASA-100 – Kodak D-23 (Stock) 10:00 @ 20C

TFSM - Spring '17
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Fomapan 100 @ ASA-100 – Kodak D-23 (Stock) 10:00 @ 20C

Of course, no film is without fault. While many may target the film’s polyester base, it is not much of an issue. In Medium format, the PE base handles well and easily mounted onto the plastic reels of the Patterson system and will probably handle just as well on steel. No the biggest issue I have with Foma 100 is the long developing time. Most times are around the 10-minute mark, while not much of a slight against the product just a minor annoyance. Thankfully the Rodinal time is under the 10-minute mark. I mostly say this because often we do marathon developing sessions and working late into the night is tough because as you get tired, you’re more likely to make a mistake.

A Walk In the Park
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Fomapan 100 @ ASA-100 – Kodak HC-110 Dil. H 10:00 @ 20C

A Walk In the Park
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Fomapan 100 @ ASA-100 – Kodak HC-110 Dil. H 10:00 @ 20C

My final word on the film, it’s certainly worth a shot if you’re on a budget or just learning. You can pick this up for under six dollars a roll (Canadian). And if you’re shooting the film in 4×5, you’re looking at a buck a sheet, only Arista.EDU and X-Ray film is cheaper. It’s also good if you want that classic look-and-feel that you often saw with Adox and Efke films, it works well in daylight and shadow and just sings in the right developer. I hope to pick up some of the 35mm version and see if there’s any difference between the two formats.

CCR Review 58 – Graflex Pacemaker Crown Graphic

CCR Review 58 – Graflex Pacemaker Crown Graphic

At the very beginning of these review blogs I had laid out some rules, and now I’m going to break one of them and review a large format, sheet film camera. The Crown Graphic is my 4×5 camera of choice these days; it’s reliable camera that can take a hit and keep on taking photos. I mean that is what it’s designed to do, it’s a press camera. And when it comes to large format, I’m glad that my first experiences with the format were on a press camera rather than a field or monorail because I don’t think I would have taken to the format in the same way.

CCR Review 58 - Graflex Pacemaker Crown Graphic

The Dirt

  • Make: Graflex
  • Model: Pacemaker Crown Graphic
  • Type: Press Camera, View/Rangefinder
  • Format: Multiple, Graflok Back (Roll film, or Sheet Film)
  • Len: Interchangeable, Crown Graphic Lens Boards
  • Year of Manufacture: 1955-1973 (This Model, 1968)

CCR Review 58 - Graflex Pacemaker Crown Graphic

CCR Review 58 - Graflex Pacemaker Crown Graphic

The Good
The number one thing I love about the Crown Graphic is that it’s versatile with a single camera I have both a handheld rangefinder based camera that I can just point, focus and shoot, at least when I’m using the Xenar 135mm lens, as I’ve calibrated the rangefinder for the lens. I much prefer to shoot the camera like a field camera, on a tripod, composing and focusing using the ground glass on the back. Using the glass gives me full creative control and use of some fantastic lenses, like the Symmar-S 210mm (which is the lens I use the most). Plus that’s the power of large format, your Crown will be able to use most lenses out there, and all the film holders and the Graflok back means you can attach all sorts of accessories such as roll film magazines and Polaroid Type 100 film holders. And finally, this camera has a nice fast setup, pop the front cover, drop the bed pull out the bellows. And if you’re using ‘pancake’ style lenses, you can keep the lens on the camera when you close the door.

CCR Review 58 - Graflex Pacemaker Crown Graphic

CCR Review 58 - Graflex Pacemaker Crown Graphic

The Bad
Like any large format camera, the biggest detractor to them is the size and the amount of stuff you need to bring to use the camera well. Tripod, multiple film holders, meter, and the lenses all mounted on their boards. It adds up after a while. But for me, it’s worth the effort. Another issue that only large format shooters will note with a press camera is the lack of movements, while the Crown Graphic gives more than the Speed Graphic, you are still only limited to movements on your front standard, and even then you’re relatively limited. But again this was a camera not designed for shooting that requires much in the way of movements. And finally there is starting to be a lack of spare parts for these cameras, so getting bits and pieces replaced or repaired is starting to become a problem, either you can grab ones that are already broken for spare parts or pray that you know someone who can machine the appropriate piece. Thankfully their rugged build means they are designed to last.

CCR Review 58 - Graflex Pacemaker Crown Graphic

CCR Review 58 - Graflex Pacemaker Crown Graphic

The Lowdown
If you’re like me and shoot on a mobile basis, then the press camera is certainly the best option, and often a Crown Graphic kit can be had for an inexpensive out of pocket cost. Being highly adaptable to multiple shooting situations and with a quick setup and tear down it’s a great camera for learning on. Of course, if you’re a technical shooter who needs movements then I would avoid press cameras altogether and go for something a little more expensive. Intrepid, Shen-Hao, Takahara, Linhoff, and Sinar are all excellent options. But for me, I’m sticking to the Crown.

All Photos Taken in Georgetown, Ontario
Graflex Pacemaker Crown Graphic – Schneider-Kreuznach Xenar 1:4,7/135 – Kodak Tri-X Pan @ ASA-200
Pyrocat-HD (1+1+100) 10:00 @ 20C

CCR Review 54 – Minolta Maxxum 5000

CCR Review 54 – Minolta Maxxum 5000

Sometimes a camera sings, sometimes a camera just sucks, and then there’s the Maxxum 5000. It’s a meh camera, K-Car of cameras, the Maxxum 5000 isn’t the bell of the ball, and it is a little meh on the handling, but for basic, no-nonsense SLR photography, the 5000 is a cheap option with an A-Mount. Let me explain a little bit more. Some cameras are amazing that they grab your attention as soon as you pick it up, for me that would be the Nikon F2, F3, and F5. Also the Rolleiflex 2.8F and several other cameras. Others are so downright terrible that you want to light them on fire. The Maxxum 5000 is one that you know it’ll take pictures; it’ll take decent pictures with good lenses, but it doesn’t excite you. Just like a K-Car, it’ll get you from point a to point b without hassle, but it won’t be an exciting ride.

CCR Review 53 - Minolta Maxxum 5000

The Dirt
Make: Minolta
Model: Maxxum 5000
Type: Single Lens Reflex
Format: 135, 35x24mm
Lens: Interchangeable, Minolta A-Mount
Year of Manufacture: 1986

CCR Review 53 - Minolta Maxxum 5000

CCR Review 53 - Minolta Maxxum 5000

The Good
I’ve been sitting and stewing over what to write about this camera for its good features, and it’s hard with a camera that is just ‘meh’ there’s nothing wrong about the camera. It’s a cheap option to get into film photography if you have some A-Mount full-frame lenses for a digital camera, a nice easy way to learn without going into a fully featured camera that could cost more. The camera’s meter is accurate; controls are easily accessible and straightforward to identify as there isn’t much in the way of using it. The camera is powered by four AAA batteries so you can easily power the camera even in the middle of nowhere.

CCR Review 53 - Minolta Maxxum 5000

CCR Review 53 - Minolta Maxxum 5000

The Bad
The Maxxum 5000 isn’t an impressive camera, it looks and feels like a VCR from the 1980s, the first stumbling steps if you catch my drift. Sure it’ll take good photos with a good lens attached, but you won’t have to do any thinking beside composition. There are no options besides Program and Manual, and the manual control is difficult to operate. The Autofocus is slow and not very accurate I would often have to wait for the camera to lock onto where I wanted it to focus.

CCR Review 53 - Minolta Maxxum 5000

CCR Review 53 - Minolta Maxxum 5000

The Lowdown
Nope, Nope, Nope. I would not recommend this camera really to anyone, while a cheap way to get into film photography there are much better options out there. Yes, the 5000 will get you there, it’s not a camera I would choose. Look at the Maxxum 7000 or even the odd duck 9000 to get rolling into Minolta Autofocus cameras. The 5000 is a cheap camera, but I would recommend an inexpensive one.

All Photos Taken in Oakville, Ontario
Minolta Maxxum 5000 – Maxxum AF 35-70mm 1:4 – Kodak TMax 100 @ ASA-64 – Pyrocat-HD (1+1+100) 9:00 @ 20C