Tag: rodinal

Large Format in the Park

Large Format in the Park

The trouble with photo walks is that you’re walking, this pretty much takes the idea of bringing large format cameras and tripods along. I mean, I love LF and have a press camera which allows me to shoot the Crown Graphic Handheld as I did back at the Summer Toronto Film Shooters Meetup. But again, when making a meet up especially for large format, you can’t call it a photo walk because it’s hard to walk with an LF camera and I know that many members don’t shoot press, technical, or field cameras they use monorails. You don’t walk around with a monorail, while you can, just not quickly. Thus was born, the Large Format Lugabout.

Remains of a Face

A Lovely Day

The Toronto Film Shooters have been to High Park many times before, so it made sense to use this urban park in Toronto as the base of operations for the walk, moving from the Southern Entrance at Colbourne Lodge to the northern terminus at Bloor Street. At about two kilometres it’s an easy enough walk even when you have an 8×10 on a monorail to lug with you.

The Howard Tomb

The Chimney

As I loaned out my Crown Graphic out to a good friend, I made a point to shoot the eight sheets of 4×5 while I wanted down through the park towards the meeting point before the main event. Even my lovely wife put up with the constant stopping. It proved to be a perfect day to shoot large format and there turned out to be a decent attendance. The highlight for me is finally seeing Colbourne Lodge. The lodge is another one of those hidden museums in Toronto, and one I certainly will be checking out again. But with the meeting starting, I turned over my Crown Graphic to Wu and switched to my Nikon F5 to take photos of the various people in attendance.

Nancy!

It's, it's...taller than me!

Another Big One

Trio of Tripods

A Common Sight

The trouble with such a meet is that everything spreads out in a long thin line, Heather and I along with Wu and Joe formed the front of the line while the long trail of photographers lugging every type of camera came up behind, even some folks carried medium format beasts. But since it was tripod friendly, it gave folks a chance to slow down.

The event turned out much better than I expected and I certainly plan on running with the idea again as people took to the idea of a limited area shoot and allowing us to bring out the big guns.

Techinal Details:
Pacemaker Crown Graphic – Schneider-Kreuznach Symmar-S 1:5.6/210, Schneider-Kreuznach Xenar 1:4,7/135, Fuji Fujinon-W 1:5.6/125
Rollei RPX 25 @ ASA-25 – Blazinal (1+25) 6:00 @ 20C
Nikon F5 – AF DC-Nikkor 105mm 1:2D – Kodak Tri-X 400 @ ASA-200
Blazinal (1+25) 7:00 @ 20C

CCR Review 70 – Voigtländer Bessa

CCR Review 70 – Voigtländer Bessa

When it comes to folding cameras, not all cameras are created equal. Many are simply box cameras dressed up with some bellows, while others have full on rangefinders and exposure control. While the Voigtländer Bessa is not top dog, it certainly is a little more usable than a simple box. The Bessa is a step up from a simple box but lacks a rangefinder to couple the manual focus. Couple this with a solid lens, with a full range of aperture and shutter speeds, makes this a solid choice if you’re looking for a folder. The Bessa is a long line of folding cameras that began in 1929 and lasted until 1949 with several changes over the course of product manufacture. This particular model dates between 1935 and 1937. It came into my collection through my Uncle Harvey, brother-in-law to my mother, it belonged to his father who used it well into the 1950s before switching to motion picture film to capture family memories. Special thanks to Uncle Harvey for trusting me with a family camera.

CCR Review 70 - Voigtlander Bessa

  • Make: Voigtländer
  • Model: Bessa
  • Type: Folder
  • Format: Medium, 120/620, 6×4.5/6×9
  • Lens: Fixed, Voigtländer Anastigmat Voigtar 1:4,5 F=11cm
  • Year of Manufacture: 1935-1937

CCR Review 70 - Voigtlander Bessa

CCR Review 70 - Voigtlander Bessa

The Good
If there’s one thing I’ve learned over the past reviews is that age doesn’t always mean poor performance. In fact, I’ve had successfully quality images from cameras far older than the Bessa. And the Bessa certainly delivers, the Voigtar lens, based on the Anastigmat design, provides quality sharp images at any aperture, I mostly shot these at f/11 or f/8, the reason will come in the next paragraph. While not exactly the fastest lens on the block at only f/4.5 I only found this to be a problem once and only because I was shooting the film at ASA-50. When it comes to handling, the Bessa is a decent shooter. Probably top on my list is that there’s a shutter release on the lens door, makes it nice and easy to shoot either landscape or portrait. By default the camera shoots in the big and beautiful 6×9 format and produces fantastic images as such, the 11cm (110mm) lens is perfect for the format with no vignetting or fall-off in any corner. But you will only get eight frames per roll. However, you can add a mask to the camera and use the second frame counter window and produce 6×4.5 format images that double the number of exposures per roll to 16. Of course, you need to add a mask to the camera, a mask I don’t have but can be produced I have yet to create such a mask. And finally, the camera is designed to accept both 120 and 620 film rolls, while less of an issue today such compatibility between Kodak Films and everyone else certainly helped the average photographer.

CCR Review 70 - Voigtlander Bessa

CCR Review 70 - Voigtlander Bessa

The Bad
The Bessas are old cameras, with the earliest models being 88 years old and the youngest dating to 68, not exactly spring chickens. I was lucky that this particular camera is in great working shape. The first thing is that the bellows can get damaged. While some might let in just a bit of light and give a distressed look to the images, others might leak like a sieve and ruin any film run through the camera. Lenses haze over, shutter stick, so if you are looking at one, try and sort out the general shooting capacity of the camera before purchase. Let’s move on, there are two serious issues and two minor issues I have with this particular camera. The first and most severe in my mind is the film winder. Being a dual 120/620, it’s a pretty substantial piece of metal, and I found that it chewed through the plastic take up reel. Thankfully I was able to run through the eight frames before it stopped advancing and I was able to extract the film with a change bag. But for future use, I’ll probably want to stick to either a 120 or 620 spool that is metal. The second issue I have with the camera I eluded to in the previous paragraph, and that has to do with focus. The camera is a manual focus lens without a rangefinder, so you have to give a rough guess on the focus or use an external rangefinder, realising this I made a point to shoot mostly to infinity and stop it down to at least f/11 to get a decent depth of field. The only shot I made at f/8, I missed focus by a touch. If I take this camera out again, I’ll be sure to pack the external rangefinder; it worked great with the Pony 135. The two remaining issues are minor, first is that the lens is uncoated, so you only want to shoot black & white film through the camera to get decent results. And secondly, the shutter speed maxes out at 1/125 of a second. So you don’t want to go shooting Kodak Tri-X or Ilford HP5+ through the camera unless you plan on seriously pulling the film in development and exposure.

CCR Review 70 - Voigtlander Bessa

CCR Review 70 - Voigtlander Bessa

The Lowdown
When it comes to folding cameras this one, despite the issue with focusing, is a real winner. Certainly would be a good choice if you frequent World War II reenactments, even if it’s just a prop but kudos if you use it to shoot. And if you do find a camera in good working order, it certainly won’t let you down. If you do shoot with the camera, remember when this camera came out Ilford had just released HP (the great-grand daddy of HP5+) and rated at ASA-160. You’ll mostly want to stick to Ilford FP4+, Kodak TMax 100, Ilford Pan F+, Fomapan 100, Ultrafine Xtreme 100, or Rollei RPX 25 to get the best results out of this camera. And the best part is shutter speeds are perfect for Sunny-16 style metering (1/125 to 1/25) and if you’re lucky enough you might even find one with an original metal reel inside. Just remember to save the reel or simply remind you lab to return it.

All Photos Taken In The Distillery District, Toronto, Ontario, Canada
Voigtländer Bessa – Voigtländer Anastigmat Voigtar 1:4,5 F=11cm – Ultrafine Xtreme 100 @ ASA-50
Blazinal (1+50) 9:00 @ 20C

Ottawa on Film

Ottawa on Film

One of my favourite cities in Ontario to photograph is Ottawa, Ontario, also the Capital City of Canada. While not as grandiose in planning as Washington DC, this city has plenty of offer the photographer. A recent week’s holiday there with my wife gave me a chance to exersize several cameras from my toolkit and having plenty of my pro gear having shot a weekend before hand I was loaded for bear both in gear and film stock.

Alexandra Bridge
Nikon F5 – AF Nikkor 35mm 1:2D – Eastman 5363 @ ASA-25
Kodak HC-110 Dil. F 5:00 @ 20C

End of Line
Nikon F5 – AF DC-Nikkor 105mm 1:2D – ORWO UN54 @ ASA-100
Kodak HC-110 Dil. H 7:30 @ 20C

Day One found us going to the newly renovated Museum of Canadian History in Gatineau then across the river for lunch. Having been blessed with a sunny week I decided to keep most of my film stocks on the slower side, most rating no more than ASA-100. It also saw a return of Eastman 5363 a favourite motion picture stock that I did extensive tests with the first time it came to the still photography market through the Film Photography Project.

Spike in Blue Sky
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Bergger Pancro 400 @ ASA-400
Kodak HC-110 Dil. B 9:00 @ 20C

More Old Hydro Systems
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Bergger Pancro 400 @ ASA-400
Kodak HC-110 Dil. B 9:00 @ 20C

Another film that I gave a try with, and only the second time shooting in 120 is Bergger Pancro 400, a new film stock out of France from a company better known for their traditional photo paper I was fairly pleased with the stock. This time around I shot it at the full speed of ASA-400 just so that shooting at waist level I could get some deep depth of field and fast shutter speeds. While a little more grainy than I was expecting from a 400-speed film in medium format I am fairly pleased with the results.

MosaïCanada 150
Nikon F2 Photomic – AI-S Nikkor 35mm 1:2.8 (Orange-22) – ORWO UN54 @ ASA-100
Kodak HC-110 Dil. H 7:30 @ 20C

MosaïCanada 150
Nikon F2 Photomic – AI-S Nikkor 35mm 1:2.8 (Orange-22) – ORWO UN54 @ ASA-100
Kodak HC-110 Dil. H 7:30 @ 20C

While if you’re a following of this blog, you’ve already seen some of the film shots from Day Four through my review of the Holga 120N. But after the National Gallery, which has a beautiful photography exhibit at the moment, I swung up my trusty Nikon F2 Photomic. With blue skies and white clouds, it was time to get some filtering on the camera. While the MosaïCanada 150 display was begging for some Infrared work, I was rather pleased with the results of the Orange-22 filter.

The Victoria Bell
Nikon F5 – AF-S Nikkor 14-24mm 1:2.8G – Fomapan 100 @ ASA-100
Blazinal (1+50) 9:00 @ 20C

The Bank of Canada
Nikon F5 – AF-S Nikkor 14-24mm 1:2.8G – Fomapan 100 @ ASA-100
Blazinal (1+50) 9:00 @ 20C

The final day saw us kicking around Parliament Hill. Sadly I had to check my bag and Nikon F5 for the tour of Parliament and the Changing of the guard, I made a point to head back with the ultra-wide lens and some Fomapan 100, a beautiful film that I had yet to shoot in 35mm, to capture the seat of power for Canada. When I’ve run a project I like to keep the film stocks fairly consistent. And while I did make sure to bring multiples of two (mostly), I use vacations as a time to play around with new/odd film stocks, sometimes it turned out great. Other times not so much.

Summer Film Party – Part III (August)

Summer Film Party – Part III (August)

Some time back I came across a sponsored post on Facebook. Now usually when I see these I tend to scroll past them, but the title grabbed my attention, 14 Towns In Ontario To Visit If You’re Too Broke To Go To Europe. While many of the sites mentioned in the article I had heard of and visited there were a couple that caught my eye, the one that I decided would be worth a visit is Almonte, Ontario.

Rushing Waters

Building on the Old

Having done a weekend wedding in Bobcaygeon, Ontario and the wife and I heading to a week’s vacation in Ottawa it was the perfect chance to visit this small historic town. It turns out the man behind Basketball, Dr. James Naismith, so my wife, who is a big fan of basketball. While Polypan F is no longer produced, I still had a roll left waiting for something special. So, why not use it for the final month of the Summer Film Party!

Water Power

Historic Town Hall

For some reason, the telltale glow that comes with the film wasn’t too present in this roll; maybe it was a combination of things. The pull to ASA-25, the yellow filter, or the Rodinal for developing. Heck, it could have even been the high-noon sun I was shooting in. Either way, the results are great in my mind.

Hydro

Tail Race

Wow, this is the last post for the Summer Film Party, I managed to get in all three months of this wonderful little project for Emulsive, of course, now you can stay tuned for their next project the #DeltaDefJam, and I already have a lovely roll of Delta 100 in 35mm waiting! Until next time film shooters, keep those shutter firing!

All Photos Shot in Almonte, Ontario
Nikon F2 Photomic – AI-S Nikkor 35mm 1:2.8 (Yellow-12) – Polypan F @ ASA-25
Blazinal (1+50) 8:30 @ 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.

CCR Review 65 – Jiffy Kodak Series II

CCR Review 65 – Jiffy Kodak Series II

There’s always a sense of wonder when working with cameras as old as the Jiffy Kodak. Despite the bellows, it is little more than a fancy dressed up box camera. And yet there is a strange draw to shooting with it; you can just shoot from the hip and hope it works out, and yet there are a few things in this dressed up box that creates a unique shooting experience. But first, I have to speak on how cool this camera is, despite lacking the art deco faceplate that gives the Jiffy Kodak an iconic look for the 1930s, like the Beau Brownie, the Series II does away with that but keeps the slow pop out bellows when you open up the camera. It certainly is a camera that can turn heads. Special thanks to my father-in-law, Dave McCullagh for this beautiful camera. This camera originally belonged to my wife’s great-grandparents and took many photos of her grandfather growing up.

CCR Review 65 - Jiffy Kodak Series II

The Dirt

  • Make: Kodak
  • Model: Jiffy Kodak Series II
  • Type: Point and Shoot
  • Format: Medium Format, 620, 6×9
  • Lens: Fixed, Kodak Twindar Lens f=10,5cm ƒ:8
  • Year of Manufacture: 1937-1948

CCR Review 65 - Jiffy Kodak Series II

CCR Review 65 - Jiffy Kodak Series II

The Good
If you’re looking for something to complete a costume or reenacting for World War Two, the Jiffy Kodak Series II would be the perfect addition. If you can pick up a working model, you can shoot some amazing images that will, with the proper film and processing give a look that if done right will make your images have that classic look about them. While the optical quality is not the best, it makes up for it in shooting in the large 6×9 format. The camera also has twin viewfinders for shooting in either portrait or landscape orientation which is rather helpful when shooting with such a large negative. Plus it makes the camera just that bit more usable, and the viewfinders are good and bright even for their age. There’s also a pair of aperture choices f/8 and f/11 with a fixed shutter speed around 1/25 so if you’re shooting on bright days stick to slower films ASA-100 is the maximum speed I use in similar cameras. There’s also a selectable focus for images from infinity to 10 feet and between 10 feet and 5 feet giving it an edge over some even newer box cameras. Another piece that sets the camera apart is that the lens is a Periscopic lens, that means instead of a single-element it’s a two element lens with the shutter and aperture between them, hence twindar. It’s this lens that gives the images that dreamy look. Of course, it could just be haze due to age.

CCR Review 65 - Jiffy Kodak Series II

CCR Review 65 - Jiffy Kodak Series II

The Bad
Despite how cool this camera looks and creates some beautiful images it is relatively awkward to use. It comes down to the placement of the shutter release. It’s located on the front plate of the camera in a position where it works great for shooting in portrait mode, but when it comes to landscape, you have to reach around awkwardly to find it. Combine this with an already slow shutter speed is a recipe for a lot of camera shake. I’d also be remiss to mention that these cameras are old, we’re talking about 70-80 years at this point so make sure everything works before you spend any money and be sure to check the bellows for any light leaks. And I’m talking major holes; smallish pinholes may even give you far more compelling images as I found with an old Polaroid Automatic Land Camera Model 240 back in 2011.

CCR Review 65 - Jiffy Kodak Series II

CCR Review 65 - Jiffy Kodak Series II

The Lowdown
Now I will mention that this is a medium format camera, but it takes Kodak’s 620 format. While some might group this in the bad category, 620 film is just 120 film spooled onto a different spool. And after a small break, the fine folks over at the Film Photography Project has started manufacturing brand new 620 spools and re-rolling fresh 120 film onto these spools for resale. Just watch out if you’re buying this camera as there are two different models, the Six-20, and Six-16, as the names imply the Six-16 takes the now defunct 116 roll film format, and actually cannot be used anymore.

All Photos Taken In Toronto, Ontario, Canada
Jiffy Kodak Series II – Kodak Twindar Lens f=10,5cm ƒ:8 – Lomography Earl Grey @ ASA-100
Blazinal (1+25) 8:00 @ 20C

Doors Open: Hamilton

Doors Open: Hamilton

One of my favourite photographic events to attend are the Doors Open tours we have in Ontario. Two cities pull out the stops the first being Hamilton the second being Toronto. While of late, Hamilton has been sort of disappointing, but it has also been the one that I have attended the most. But my attendance is a little bit of a Birthday tradition for me as it always falls on the weekend closest to my birthday. Sadly this year’s event was soured a little with rain, so I only managed to get to four locations, of which I’ll be sharing three here today as I shot them on film.

St. Lawrence the Martyr – While I have visited this parish at past Door’s Open events, I wanted to return as it is one of the more beautiful parishes in the city of Hamilton. From the outside, this Norman Romanesque church looks rather bland, until you walk into the sanctuary and come into full view of the sky blue walls, beautiful murals and at the center the Carrera marble altar. In an odd twist, this year’s door’s open marked the anniversary of the cornerstone laying of the building back in 1890.

DO:H - St. Lawrence the Martyr

DO:H - St. Lawrence the Martyr

DO:H - St. Lawrence the Martyr

Christ’s Church Cathedral – Christ’s Church is a unique church in Hamilton, holding the record as the second oldest Anglican parish in Canada and a unique construction history. The original structure, a pure wood, and stucco building opened in 1835, but over the next decade, the Robert Charles Wetherall building had a startling transformation under the watchful eye of William Thomas, going from Baroque to Gothic Styling. Despite its imposing presence on James Street, the church is active in the community hosting the local arts scene with its community gallery.

DO:H - Christ's Church Cathedral

DO:H - Christ's Church Cathedral

DO:H - Christ's Church Cathedral

New Vision United Church – One of the new locations this year, New Vision United Church is a new congregation in an old building. The church building itself dates back to 1866 known then as the McCallum Chapel. Sadly the history of this Albert Harvey Hills is scarce, at some point in the church’s history it became known as Centenary United Church, and that is the sanctuary that was open to me at Doors Open. It soon became apparent to me that many congregations would soon gather here as church’s shrank, and even today New Vision chooses to worship in the lower hall. Thankfully, there is the word that the building and sanctuary will see reuse as a theater and community space.

DO:H - New Vision United Church

DO:H - New Vision United Church

DO:H - New Vision United Church

For the first time around using film, I took steps to compensate for reciprocity failure. To put it simply the more a film stock is exposed to light, the less sensitive to light it becomes. The trouble is this reciprocity failure different for every film stock. One of the worst films out there for this is my much enjoyed Kodak Tri-X, one of the best is Fuji Neopan Acros 100. But I didn’t shoot either of these stocks, but rather Ilford Delta 100. Delta 100 is a film stock I don’t shoot that much, preferring either Kodak TMax 100 or Ilford FP4+. Thankfully, I used an application on my phone that has a built-in data for most film stocks out there. Oddly enough Delta 100 and Delta 400 share the same reciprocity failure.

Photo Data:
Hasselblad 500c – Carl Zeiss Disagon 50mm 1:4 – Ilford Delta 100 @ ASA-100
Blazinal (1+25) 9:00 @ 20C

CCR Review 62 – Canon T90

CCR Review 62 – Canon T90

The Canon T90 is a camera since I first laid eyes on it during the first season of the Classic Camera Revival Podcast, I think it was even at the first recording session we did. While the T-Series of cameras are not well viewed, many of them cheap and looking more like that 1980s VCR look you find with the early Minolta Maxxums, the T90 is the odd-man out in the series. Big thanks to Mike Bitaxi for the loan!

CCR Review 62 - Canon T90

The Dirt

  • Make: Canon
  • Model: T90
  • Type: Single Lens Reflex
  • Format: 135 (35mm), 36×24
  • Len: Interchangeable, Canon FD Mount
  • Year of Manufacture: 1986-1987

CCR Review 62 - Canon T90

CCR Review 62 - Canon T90

The Good
If you’ve read through many of these reviews, and if you’re still around, thank you, but the biggest thing I can be overly critical about is the physical feel of a camera. The T90 is no slouch, while the majority of the T-Series are boxes, the T90 is a sleek killing machine. Boxy angles are replaced with smooth lines, something you would see in a modern SLR. This makes the camera comfortable to handle and use even for an extended period. And despite the added weight from the larger size and the six AA batteries that power it, the camera is well balanced. Speaking of the AA batteries, the camera can be powered no matter where you find yourself. General use is spot on, with automatic film loading that seems to come out of the Quick Load system. Then there is the meter, even in the appalling weather I was shooting the camera in, and rain spotted lens the meter was spot on with the exposure, and that was running it in full auto-exposure. I’m sure the same power would be brought for semi-automatic and manual modes. And finally, you can get one relatively cheap on the used market not to mention a broad range of inexpensive glass in the FD mount.

CCR Review 62 - Canon T90

CCR Review 62 - Canon T90

The Bad
Just don’t forget that we’re talking about a thirty-year-old camera, and the biggest issue that the T90 suffers is the electronic failure. If you’re a shooter of the T90, you have heard of the dreaded EEE error. Of course, that means that you’ll need to either get a repair done on it or simply replace the unit. At least there’s still a camera shop out there that can do a full refurbishment on the camera. Despite how well the camera handles it suffers from the one big issue that I have with all Canon cameras, the lack of a second command dial. Now most later EOS cameras have a second thumb dial on the camera back; the T90 lacks this. I guess I’m just used to that on Nikons, but it does pose an issue when shooting outside of semi and fully automatic exposure modes. And finally the buttons are difficult to understand what they’re for without a manual, it took the help of Mike to figure out how to put the camera in Auto-Exposure and Matrix/Average metering mode.

CCR Review 62 - Canon T90

CCR Review 62 - Canon T90

The Lowdown
The T90 is an odd-duck of a camera, and I’m surprised it was never marketed to the Professional market, like the T-1 to bring a sleeker camera to the market with all new features than keeping the old F-1 line going. I mean the camera itself has your favourite parts of the Nikon F3 and the best parts of the F4, and you have something close to the T90. It’s a camera that is perfect for anyone who has a large selection of FD mount lenses. The trouble is that shortly after the T90 came out, Minolta released the autofocus system with the Maxxum line of cameras and Canon was quick on the take and released the EOS system shortly after the T90 rendering the camera and the entire manual focus line of cameras and lenses obsolete.

All Photos taken in Acton, Ontario, Canada
Canon T90 – Vivitar Auto Wide-Angle f=28mm 1:2.5 – JCH Streetpan 400 @ ASA-400 – Blazinal (1+50) 22:00 @ 20C

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.

It’s a TMAX Party – Part I

It’s a TMAX Party – Part I

The fine folks behind the film photography promotion website Emulsive have done it again! In the footsteps of last year’s FP4Party, they have started to run a couple of different monthly participation events for film photographers around the globe through the use of Twitter. Sadly I didn’t participate much in the FP4Party mostly because of time conflicts; I decided to make a point to join in on this year’s film parties. Being free of most projects it freed my hand to keep up this time around. This year’s first party is a celebration of Kodak TMax. Tmax a modern film emulsion that was released in the late 20th-Century and use a tabular grain rather than a traditional grain like Tri-X or Plus-X.

While I figured the easiest way to jump into the TMaxParty was to dig into my box of 4×5 TMax 100. While TMax isn’t always my first choice, I’m more of a classic grain shooter. But hey sometimes it’s good to jump a little bit outside of your comfort zone. So into Hamilton, I went, and while I had planned to shoot all eight loaded sheets that day but the cold weather told me otherwise.

HMCS Haida
Pacemaker Crown Graphic – Fuji Fujinon-W 1:5.6/125 – Kodak TMax 100 @ ASA-100 – Blazinal (1+50) 12:00 @ 20C

Craft Beers
Pacemaker Crown Graphic – Schneider-Kreuznach Symmar-S 1:5.6/210 – Kodak TMax 100 @ ASA-100 – Blazinal (1+50) 12:00 @ 20C

Whitehern
Pacemaker Crown Graphic – Fuji Fujinon-W 1:5.6/125 – Kodak TMax 100 @ ASA-100 – Blazinal (1+50) 12:00 @ 20C

Well in Canada, March can be a bit of a hit and miss, and while the weather kept me from shooting outside, my shutters tend to get laggy in sub-zero weather I again had to dive outside of my comfort zone. Usually, when I’m shooting large format I stick to deep depth-of-field, we’re talking f/32 and up on my aperture. Sure it makes for longer shutter times, but it gives the images incredible sharpness. Well, the temperatures stuck below zero so open up the lens I did.

Retention
Pacemaker Crown Graphic – Schneider-Kreuznach Symmar-S 1:5.6/210 – Kodak TMax 100 @ ASA-100 – Kodak D-23 (Stock) 9:30 @ 20C

Take Flight
Pacemaker Crown Graphic – Schneider-Kreuznach Symmar-S 1:5.6/210 – Kodak TMax 100 @ ASA-100 – Kodak D-23 (Stock) 9:30 @ 20C

The Lights Above
Pacemaker Crown Graphic – Schneider-Kreuznach Symmar-S 1:5.6/210 – Kodak TMax 100 @ ASA-100 – Kodak D-23 (Stock) 9:30 @ 20C

While I’m pretty happy with my results for this month, I hope next month’s TMax Party I’ll have some more outdoor shots. Of course, the big question is what format will I shoot, and in what camera! Current runners are my Contax IIIa, Rolleiflex 2.8F, or Hasselblad 500c. So we’ll see next month!