Tag: Toronto

CCR:FRB – Review 17 – Rollei RPX 100

CCR:FRB – Review 17 – Rollei RPX 100

The middle-of-the-road film stock in the RPX line and another fantastic entry. Like RPX 25, RPX 100 is the spiritual successor to Agfa APX 100. While I don’t have much experience with APX 100 (I have about 50 sheets of the stuff in 4×5), the film is similar in look to Kodak TMax 100. And actually, you can use some of the TMax 100 times with RPX 100. While it’s no FP4+, I actually think RPX 100 is slightly better than Kodak TMax 100 mostly because of the huge latitude on the film, in fact, you can even do the Panatomic-X trick and shoot the film at ASA-32 and amazing results!

CCR:FRB - Review 17 - Rollei RPX 100

Film Specs
Type: Panchromatic Black & White
Film Base: Polyester (PE)
Film Speed: ASA-100, Latitude: 25-800
Formats Avaliable: 35mm, 120, 4×5

Roll 01 – Rollei RPX-D
Like Kodak’s TMax developer, Rollei released their RPX-D developer for the RPX 100 and RPX 400 films. And while using the developer will cost you, as it’s not available in every store, it provides amazing results with the film. From the smooth tones and fine grain, and like TMax films in TMax developer I honestly feel RPX-D is made perfectly for RPX 100, more so than RPX 400. Of course, the biggest issue is that you do need to purchase the developer from speciality online stores and the bottle isn’t that big.

52:500c - Week 04 - A Fort for A City52:500c - Week 04 - A Fort for A City52:500c - Week 04 - A Fort for A City52:500c - Week 04 - A Fort for A City

Technical Details:
Hasselblad 500c – Carl Zeiss Distagon 50mm 1:4 – Rollei RPX 100 @ ASA-100
Rollei RPX-D (1+15) 6:30 @ 20C

Roll 02 – Kodak D-76
Like it’s position in the RPX line, RPX 100 is my second favourite film from the lineup. And you know, D-76 only solidifies that place you get a beautiful image that is far from boring, the contrast is there, the tonal range is there and you know you get a decently sharp image on top of all that. While in the sky areas you see a bit more grain, it isn’t anything to worry about it actually looks decent. And while you could tone down the contrast by going 1+1 or using Kodak D-23. I think the stock looks better.

CCR:FRB - Review 17 - Rollei RPX 100 - Roll 03 (Kodak D-76)CCR:FRB - Review 17 - Rollei RPX 100 - Roll 03 (Kodak D-76)CCR:FRB - Review 17 - Rollei RPX 100 - Roll 03 (Kodak D-76)CCR:FRB - Review 17 - Rollei RPX 100 - Roll 03 (Kodak D-76)

Technical Details:
Rolleiflex 2.8F – Carl Zeiss Planar 80mm 1:2.8 – Rollei RPX 100 @ ASA-100
Kodak D-76 (Stock) 8:30 @ 20C

Roll 03 – Rodinal
Another win for RPX 100, and along the same lines of RPX-D, Rodinal does right by RPX 100. You get the same fine grain smooth tones and contrast. And well I think, RPX 100 responds far better to Rodinal than TMax 100. Another interesting point is that it doesn’t matter if you use 1+25 or 1+50 there’s very little difference between them in how the film responds, it again depends on how much time you have. Though I do think, the 1+25 will give you a slightly sharper image.

52:500c - Week 37 - Shaken, Not Stirred52:500c - Week 37 - Shaken, Not Stirred52:500c - Week 37 - Shaken, Not Stirred52:500c - Week 37 - Shaken, Not Stirred

Techincal Details:
Hasselblad 500c – Carl Ziess Planar 80mm 1:2.8 – Rollei RPX 100 @ ASA-100
Blazinal (1+25) 9:00 @ 20C

Roll 04 – Kodak HC-110
Out of all the developers I used with RPX 100, personally, HC-110 remains my personal favourite. A well-rounded film needs a well-rounded developer, and while HC-110 is known to bump up the contrast in most films, it isn’t too bad on RPX 100, rather you get the same results as you would in any other developer. Not to mention the same smooth tones and fine grain images. While the sharpness is a bit less, it’s far from noticeable, but you do get an uptick in grain.

52:500c - Week 31 - Vieux-Québec52:500c - Week 31 - Vieux-Québec52:500c - Week 31 - Vieux-Québec52:500c - Week 31 - Vieux-Québec

Technical Details:
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Rollei RPX 100 @ ASA-100
Kodak HC-110 Dil. B 9:00 @ 20C

Final Thoughts
When it comes to RPX 100, I have so many other films on the same time that I love shooting, Ilford FP4+, of course, being top of the list, but if I had to pick a film to replace say Kodak TMax 100 or even Delta 100 I would go with RPX 100. It’s readily available in physical stores and easily obtained online. Plus it carries on that spirit of the APX line of films. I actually have 50 sheets of APX 100 in 4×5 waiting to be shot hopefully this summer. Not to mention RPX 100 does really well if you use TMax 100 times, even the Panatomic-X trick.

Toronto Film Shooters Meetup – Spring 2018

Toronto Film Shooters Meetup – Spring 2018

It’s been just under a year since the gang visited the Riverdale/Leslieville areas of Toronto. And again I found myself as a participant in the walk rather than the organiser. For that, I left it up to Bill Smith who knows the area like the back of his hand, though this time around we took a much different route. There’s something about getting started early as we gathered at the Rooster Coffee House for our start, after an Atomic Rooster Brew and some discussion. And of course, snapping photos with our cups of coffee and our cameras we started off.

Bill and the FLeicamanUp in SmokeJohn

The day had promised to be a scorcher, thankfully the humidity was not as bad as predicted, which made life easier especially lugging around camera gear. We didn’t even blink at the Old Don Jail that had a massive lineup outside it already for a Doors Open Tour, we were more interested in moving rather than jockeying for shots inside the old jail. Across the Don Valley and into a rather odd feature of the city, Riverdale Farm. A strange little pocket of history that Toronto makes Toronto rather unique, from there it was into the beautiful areas of Cabbage Town with grand old homes that still carried some of their historic charms.

Riverdale TunnelGoats?The Grand HouseCatholic

The group remained fairly elastic often trailing across maybe half a kilometre each person seeing something different in the area to capture or just sticking to the social aspects of the meetup. I went a bit bigger on gear than I usually do, bringing the Nikon F5 along with the standard lens trio, 35, 50, and 105. Giving me a bit more range to capture wide to close. The day was bright, and I really should have just stuck to the slower films I had packed and left the FP4+ for another day.

Row Upon RowHam!Didn't See AnythingYing & Yang

Despite the late departure, we made a good time, being able to poke our head into an area of the city that I haven’t always visited before ended at the Stout Irish Pub (great food, great beer). And while some decided to head back to the Rooster I needed to get to Saulter Street in a far quicker manner before heading into the Downtown for chemistry at Downtown Camera and be home in time to make up dinner! If you want to join the Toronto Film Shooters, our next photo walk takes place on the 21st of July at 3 pm, meeting at the Exchange Brewery (7 Queen Street, Niagara-On-The-Lake, Ontario) more details can be found on the Facebook Event.

Doors Open Hamilton – A Return

Doors Open Hamilton – A Return

My first experience with a Doors Open event took place in 2007 in Hamilton, wow, I’ve been doing these for over ten years now. I learned of it through the Urban Exploration community. And really there’s no surprise there, explorers do love getting a view of places we normally can’t. And frankly, there’s no better way to do that than legal tours. And while these days I don’t go with a big group, I still enjoy getting out to the Toronto or Hamilton event. Sometimes even both if I can work it. There was even a year I went to Guelph’s and I helped run a Doors Open location for my home church during the Milton event. But Hamilton has always held a special place for me, mostly because it always lands on my birthday weekend. Unlike last year where the weather was awful, this year the weather on Saturday was perfect and at my wife’s idea, I took my father-in-law along for the ride. All but one location were new to me, and most featured the theme of restoration and reuse. Eucharist Church is a new congregation that is bringing new life to the 1893 First Romanian Baptist Church, reviving a sanctuary that had not seen use in twenty years. Gibson School and Cannon Knitting Mills are both centuries-old buildings that are being given new leases on life as Condos and Event space, much to the anger of many in the surrounding communities, but that is a discussion not for this blog. The old Customs House saved from demolition and now celebrates Hamilton’s industrial history, and of course, the beautiful art deco Toronto, Hamilton & Buffalo Station that continues to serve as a GO station and a museum to the city’s rail history.

DO:H 2018 - Eucharist ChurchDO:H 2018 - Gibson SchoolDO:H 2018 - Cannon Knitting MillDO:H 2018 - Customs HouseDO:H 2018 - Hamilton GO Centre

While I also visited three additional locations, the Hamilton Port Authority, Royal Hamilton Yacht Club, and an old Maintenance Warehouse they really didn’t fit and were more bonus locations. If you want to see all the images, you can check them out over on my Flickr collection!

All Photos taken with:
Sony a6000 + Sony E PZ 16-50mm 1:3.5-5.6 OSS

CCR:FRB – Review 13 – Fomapan 100

CCR:FRB – Review 13 – Fomapan 100

The Fomapan series of films are ones that I only recently discovered in the past couple years. It actually was in 2015 when I visited Europe for the 200th Anniversary of Waterloo and popped into a camera shop in the old city of Amsterdam. And there was the whole range of Foma products from paper to film. Well, when I returned I made a point to start checking out this Foma product line. While Fomapan 100 wasn’t my first experience with the product line, it is my favourite of the three film stocks.

CCR:FRB - Review 13 - Fomapan 100

Film Specs
Type: Panchromatic B&W
Film Base: Polyester
Film Speed: ASA-100, Latitude: 40-400
Formats Avaliable: 35mm, 120, Sheets

Roll 01 – Kodak TMax Developer
I’m not sure if it was the lighting or the developer on this one, but not exactly my favourite combination. Yet, it’s not a bad choice of developer, you get the resolving power that you have with Fomapan 100, fine grain, the tones, but the image is just flat. Sure you have the blacks and the whites, but even those are a little off for my taste. If there was a time for 1+4 you might see an improved contrast. But still, if you want this low contrast look, then yes, a solid choice.

CCR Review 82 - Mamiya 645 AF-D IIICCR Review 82 - Mamiya 645 AF-D IIICCR Review 82 - Mamiya 645 AF-D IIICCR Review 82 - Mamiya 645 AF-D III

Technical Details:
Mamiya 645 AF-D III – Mamiya 645 AF 80mm 1:2.8 – Fomapan 100 @ ASA-100
Kodak TMax Developer (1+9) 8:00 @ 20C

Roll 02 – Kodak HC-110
One of my favourite developers for Fomapan 100 is HC-110, because not only do you get a good contrast even with low dilutions like H and F, you maintain amazing tonality across the spectrum and a sharp look and fine grain. Sure you may need to develop it a bit longer than usual or use a different agitation pattern. But trust me this gives you that classic look that you have come to expect from the Foma line of films without losing sharpness or increasing the grain.

ParatrooperA Quick Way Around CampUS ForcesLittle bit of Conversation

Technical Details:
Contax G2 – Carl Zeiss Planar 2/45 T* – Fomapan 100 @ ASA-100
Kodak HC-110 Dil. F 7:45 @ 20C

Roll 03 – Rodinal
If you want contrast on the nose, then Rodinal is your choice for developers with Fomapan 100. You also get to see how sharp the film is, but you do get far more noticeable grain especially when you shoot in 35mm, but far less noticeable in 120. Rodinal is by far my primary developer with Fomapan 100 because it’s a classic looking film, it should always be paired with a classic developer.

LUiNA StationOpposing DoorsWater from the RockLittle India

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

Roll 04 – Kodak D-23
For a slow working developer you get a whole lotta contrast out of Fomapan 100, and like Rodinal it gives a strong look to the film. Smooth tones, great contrast, and fine grain. Now you do lose a bit of sharpness but not enough to be overly concerned about it. Of course the downside is that you do have a ten minute developing time, but it’s worth the time.

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

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

Final Thoughts
If you’re looking for a classic emulsion that feels like a film you’d have shot in the mid-twentieth century then Fomapan 100 is for you. While you do need to purchase the stock through more speciality film stores Freestyle, Argentix, Maco Direct, B&H, it’s well worth the effort because it is slightly less expensive than mainstream films from Kodak, Fuji, and Ilford. But to get the best results for the film, stick to classic developers, HC-110, Rodinal, and D-23. While I haven’t tried the film with D-76 yet, I’m sure that it would do just as good a job.

CCR:FRB – Review 12 – Kodak Tri-X 400

CCR:FRB – Review 12 – Kodak Tri-X 400

Kodak Tri-X, the mention of the film stock is usually met with awe or aversion. But for me, Tri-X is my film of choice no matter what situation I’m going into. I know that with the film I can get consistent results no matter what situation I throw myself into from abandoned buildings to a wedding, and will get amazing results no matter what chemical I toss the film into. With a classic look and feel, you can torture this film to your heart’s content and will always get the results you need.

CCR:FRB - Review 12 - Kodak Tri-X 400

Film Specs
Type: Panchromatic B&W
Film Base: Acetate
Film Speed: ASA-400, Latitude: 100-6400
Formats Available: 35mm, 120, Sheets (Note: Sheet films of Tri-X are known as 320TXP)

Roll 01 – Rodinal
Like my aversion to using Rodinal with Bergger Pancro 400, I thought the exact same thing with Tri-X, putting a sharp developer on a fast film will result in a grain fest. Yet, I wanted to give it a go anyways and the results astounded me. The grain, while more present than normal, is reasonable, it is a little more noticeable in 35mm, it also shows off exactly what Tri-X can do. With sharpness, tonality, and contrast that show you exactly how the world is supposed to look in black & white. If you want something a little smoother, bump the dilution to 1+50 for even better results. Just remember to use a chemical stop bath, I forgot one time and overdeveloped the sheets.

Amy & Jeremy - 12th August 2017Amy & Jeremy - 12th August 2017Amy & Jeremy - 12th August 2017Amy & Jeremy - 12th August 2017

Technical Details:
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Kodak Tri-X 400 @ ASA-200
Blazinal (1+25) 7:00 @ 20C

Roll 02 – Kodak HC-110
The first roll of Tri-X I developed on my own was with HC-110, back in 2012. Now you’re probably screaming that I developed for less than five minutes, which is a big no-no apparently. And even now that I use longer developing times (), the results are the same! But it works for me. It seems that, at least to me, HC-110 and Tri-X are made for each other. The tones are there, the sharpness is there, and the contrast is through the roof. And it also shows off how well Tri-X can handle even the worst lighting conditions like a rainy day in Arras under heavy clouds.

Rainy Day in ArrasRainy Day in ArrasRainy Day in ArrasRainy Day in Arras

Technical Details:
Contax G2 – Carl Zeiss Biogon 2,8/28 T* – Kodak Tri-X 400 @ ASA-400
Kodak HC-110 Dil. B 4:30 @ 20C

Roll 03 – Kodak TMax Developer
While not my favourite choice for Tri-X, that doesn’t mean TMax Developer does a good job, it does, it just doesn’t make Tri-X look like the Tri-X I know and enjoy. But thankfully, Tri-X looks good, no matter what you develop it in. The grain is far more chunky as if it’s trying to make classic grain look like modern grain. It may even look close to a classic Tri-X with big grain and lower than normal contrast. But if it’s all you got, it does its job. Though I personally would knock the developing time back 15-30 seconds next time, or pull the film further back to 200.

CCR:FRB - Review 12 - Kodak Tri-X 400 - Roll 03 (Kodak TMax Developer)CCR:FRB - Review 12 - Kodak Tri-X 400 - Roll 03 (Kodak TMax Developer)CCR:FRB - Review 12 - Kodak Tri-X 400 - Roll 03 (Kodak TMax Developer)CCR:FRB - Review 12 - Kodak Tri-X 400 - Roll 03 (Kodak TMax Developer)

Techincal Details:
Nikon F5 – AF Nikkor 50mm 1:1.4D – Kodak Tri-X 400 @ ASA-320
Kodak TMax Developer (1+4) 7:15 @ 20C

Roll 04 – Kodak D-23
While D-76 is a good choice of developer for Tri-X, I personally prefer the slower working D-23 as it really helps show off the range for Tri-X, and actually gives the film a far more classic look than newer developers. You get the same tone and sharpness that I have come to expect from the film but it does knock back the contrast but not by much if you prefer more contrast D-76 would be a better choice.

Project:1812 - Fortress HalifaxProject:1812 - Fortress HalifaxProject:1812 - Fortress HalifaxProject:1812 - Fortress Halifax

Technical Details:
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Kodak Tri-X 400 @ ASA-400
Kodak D-23 (Stock) 7:30 @ 20C

Final Thoughts
Kodak Tri-X will remain, one of my favourite films, I can push and pull the film no matter what and can always pull good images out of it. And though you don’t get the clean modern look as you would with TMax 400, it’s that classic grain and contrast that I desire when I’m out on the street or in portraiture. It’s the classic in the yellow box and one that you can get pretty much anywhere you can buy film. While I wouldn’t develop in TMax developer, it sings in Rodinal, D-23 or D-76, HC-110 and so many other developers.

CCR:FRB – Review 11 – Ilford Delta 100

CCR:FRB – Review 11 – Ilford Delta 100

By far my favourite of all the Delta films (which isn’t hard, there are only three) and my favourite of the mid-speed Modern Films (Delta, TMax etc.). Delta 100 is what I expect from a modern film, sharp, fine-grained, and can do anything you want it to without any major issues. Unlike the faster films, this one can work with pretty much any developer I throw it in and loves any lighting situations. And while as an indoor film it can suffer from rather harsh reciprocity failure, if done right, you don’t have to worry.

CCR:FRB - Review 11 - Ilford Delta 100

Film Specs
Type: Panchromatic B&W
Film Base: Acetate
Film Speed: ASA-100, Latitude: 50-800
Formats Available: 35mm, 120, Sheets

Roll 01 – Rodinal
While not a personal favourite developer with Delta 100, which is strange, Rodinal does a good enough job to show off the more modern look and feel of the film. And despite being a 100-speed film I did notice a bit more grain with the film than I was expecting, but nothing too serious, the grain is of course, far less noticeable if you bump up the negative size to sheet (4×5) in my case. But you still get bright, clean negatives with tones across the scale.

DO:H - Christ's Church CathedralDO:H - New Vision United ChurchDO:H - St. Lawrence the MartyrDO:H - New Vision United Church

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

Roll 02 – Kodak HC-110
If you want to show off what Delta 100 can do, there are two developers; the first is DD-X, the second is HC-110. These both show what Delta 100 can do, blacks are black, whites are whites, and there are so many shades of grey in between they could write some terrible books about it. Not to mention you can adjust the dilution to get the level of contrast you want. Personally, I find with B it’s a little too contrasty, and E does it just right. Not to mention you maintain the same level of sharpness and fine grain you’d come to expect from the film.

CCR:FRB - Review 11 - Ilford Delta 100 - Roll 02 (HC-110)CCR:FRB - Review 11 - Ilford Delta 100 - Roll 02 (HC-110)CCR:FRB - Review 11 - Ilford Delta 100 - Roll 02 (HC-110)CCR:FRB - Review 11 - Ilford Delta 100 - Roll 02 (HC-110)

Technical Details:
Rolleiflex 2.8F – Carl Zeiss Planar 80mm 1:2.8 – Ilford Delta 100 @ ASA-100
Kodak HC-110 Dil. E 7:30 @ 20C

Roll 03 – Ilford DD-X
Like my review of Delta 400, rather than use Kodak TMax developer, I went with Ilford’s DD-X. And by far this is my favourite developer to use for this film. Even with the 35mm size, you get a beautiful film with amazing contrast, tone, sharpness, and fine grain. Everything you would expect from a modern emulsion and grain structure. And to be perfectly honest, DD-X and Delta 100 are my favourite combo for DD-X as a whole.

CCR - Review 5 - Nikon F2 PhotomicCCR - Review 5 - Nikon F2 PhotomicCCR Review 5 - Nikon F2 PhotomicCCR - Review 5 - Nikon F2 Photomic

Techincal Details:
Nikon F2 Photomic – AI-S Nikkor 50mm 1:1.4 – Ilford Delta 100 @ ASA-100
Ilford DD-X (1+4) 12:00 @ 20C

Roll 04 – Kodak D-76
As with Kodak TMax 100, you can show off exactly how well these modern films take to classic developers, while I haven’t used the stock dilution with Delta 100, the 1+1 shows off the beautiful contrast, tones, and fine grain you get with the film. And while it is a longer developing time, the extra effort is certainly worth it. And if this is the results from 35mm, I would love to see how much better it would be with medium and large format.

Industrial LightsClose UpGosserPeeling and Painted

Technical Details:
Nikon F5 – AF DC-Nikkor 105mm 1:2D – Ilford Delta 100 @ ASA-100
Kodak D-76 (1+1) 11:00 @ 20C

Final Thoughts
Delta 100 is one of those films that you cannot do anything wrong with. No matter what you develop the film in, it gives you solid results. And if you’re looking for that solid modern look in your images in the street, in portraits, landscape, and architecture this film will deliver it to you. Like any of these modern films, however, it is hard on your fixer, and you’ll probably want to give it another minute or so from the standard time of 5 minutes, and pre-wash and hypo-clear is a must to clear off that purple anti-halation layer that does stay on your negatives.

CCR:FRB – Review 09 – Ilford Delta 400

CCR:FRB – Review 09 – Ilford Delta 400

If there is one film out there that I have disliked the most but have had a radical change of viewpoints Delta 400 is that film. Like TMax 400, I just find Delta 400 too modern, and boring. It’s not a bad film; it’s just not exciting. It gives you a film that is almost equal in performance as TMax 400. And while I’ve found that the film isn’t bad, it just needs better development in many cases. While some people have managed to tame the film, I do have found through Delta Def Jam; it’s a great choice if you can’t get your hands on TMax 400.

CCR:FRB - Review 09 - Ilford Delta 400

Film Specs
Type: Panchromatic B&W
Film Base: Acetate
Film Speed: ASA-400, Latitude: 100-3200
Formats Avaliable: 35mm, 120, Sheets

Roll 01 – Kodak HC-110
I don’t think HC-110 has ever steered me wrong and I do have the Delta Def Jam event to thank for this one as it was here I discovered what I could get out of Delta 400. With HC-110 you get the rich tones and smooth grain. While you do lose a touch of sharpness, it isn’t much to worry about. As for contrast, that’s easily controlled by increasing or decreasing the dilution, but for me, it’s right to perfect at Dilution B.

Waldie's BlacksmithThe Old Post OfficeBob'sNever Forget

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

Roll 02 – Ilford DD-X
While I’ve been using TMax developer and it does work well with Delta 400, I decided to switch over to DD-X the Ilford equivalent for the Delta films. DD-X is probably the best choice for this film using the 1+4 dilution as standard you see the full power of the modern T-Grain, good tones, sharpness, and decent grain control. While you do see an uptick in grain, it really isn’t too bad once you get into the larger formats. Also, make sure your camera’s exposure is dead on, or else you’ll get some terrible results.

Toronto - New Year's DayToronto - New Year's DayToronto - New Year's DayToronto - New Year's Day

Technical Details:
Rolleiflex 2.8F – Carl Zeiss Planar 80mm 1:2.8 – Ilford Delta 400 @ ASA-400
Ilford DD-X (1+4) 8:00 @ 20C

Roll 03 – Kodak D-76
To be perfectly honest this was the singular roll I shot for this review that I was the most concerned about. I had a rough time the last roll of Delta 400 I had shot in 35mm. But this time around I remained pleasantly surprised. Like TMax 400, Delta 400 responds wonderfully to D-76, and even in 35mm you get a moderate contrast, I would like a little bit more. But you have the sharpness and modern look of the film. While I do notice an uptick in grain, I was expecting this when I pulled the negatives out, but you do get a sharp image at the same time, so it’s a worthwhile trade-off. That being said I do prefer Delta 400 in the older D-23 over D-76.

CCR:FRB - Review 09 - Ilford Delta 400 - Roll 03 (D-76)CCR:FRB - Review 09 - Ilford Delta 400 - Roll 03 (D-76)CCR:FRB - Review 09 - Ilford Delta 400 - Roll 03 (D-76)CCR:FRB - Review 09 - Ilford Delta 400 - Roll 03 (D-76)

Techincal Details:
Nikon FE – AI Nikkor 28mm 1:3.5 – Ilford Delta 400 @ ASA-400
Kodak D-76 (Stock) 9:30 @ 20C

Roll 04 – Pyrocat-HD
I had originally planned to use Pyrocat-HD with one of the Delta Def Jam entries but instead ended up using Kodak D-23. And you know, the wait was worth it. While Pyrocat-HD is based on some of the oldest developers out there, it works wonders on modern films. Giving you a clean, almost grainless look, sharp images, and amazing tones and contrast. Plus it almost gives the film a classic look about it.

CCR:FRB - Review 09 - Ilford Delta 400 - Roll 04 (Pyrocat-HD)CCR:FRB - Review 09 - Ilford Delta 400 - Roll 04 (Pyrocat-HD)CCR:FRB - Review 09 - Ilford Delta 400 - Roll 04 (Pyrocat-HD)CCR:FRB - Review 09 - Ilford Delta 400 - Roll 04 (Pyrocat-HD)

Technical Details:
Mamiya m645 – Mamiya-Sekor C 35mm 1:3.5 C – Ilford Delta 400 @ ASA-32
Pyrocat-HD (1+1+100) 16:00 @ 20C

Final Thoughts
So where does that leave us? Well, I can’t say I’ve been won over with modern films, but it certainly does give me one more type of film to shoot in a pinch when I can’t always get the ones I want. And certainly, if I can’t get my hands on TMax 400, I can get the same results with Delta 400 and I would give the edge to Delta 400 over the Kodak film stock. And for me, that’s saying something. Plus overall, it’s just a bit more exciting than TMax 400 in my view.

CCR:FRB – Review 07 – Bergger Pancro 400

CCR:FRB – Review 07 – Bergger Pancro 400

The name Bergger has been until recently been relatively unknown here in North America (at least to me) until recently when I learned that they were planning on introducing a new film stock, Pancro 400. While, Pancro 400 is the only offering from the company, and while you might still find their older BRF400+ film stock, Pancro 400 is a beautiful classic film emulsion. When I heard about the film through the Film Photography Project when they were just releasing the stock, I made a point to pick it up. I found a surprisingly beautiful film, despite the increased amount of grain. I would wager to say, Pancro 400 has the look of the early HP and Tri-X emulsions from Ilford and Kodak respectively.

CCR:FRB - Review 07 - Bergger Pancro 400

Film Specs
Type: Panchromatic B&W
Film Base: Acetate
Film Speed: ASA-400, Latitude: 200-1600
Formats Avaliable: 35mm, 120, Sheets

Roll 01 – Kodak D-76
What better way to develop a classic film than with a classic developer and D-76 does the film justice. You can see the full range of tones and the beautiful grain. While you can see a definite increase the grain for a 400-speed film in medium format, but it’s not as bad as it could be. While I did notice the film is a little more contrasty than it can be, you could probably tame that by cutting to dilution 1+1 or using the slower working D-23.

CCR Review 78 - Mamiya m645CCR Review 78 - Mamiya m645CCR Review 78 - Mamiya m645CCR Review 78 - Mamiya m645

Technical Details:
Mamiya m645 – Mamiya-Sekor C 45mm 1:2.8 N – Bergger Pancro 400 @ ASA-400
Kodak D-76 (Stock) 9:00 @ 20C

Roll 02 – Kodak HC-110
You can see the increased amount of grain that Pancro 400 has when souped in HC-110, but don’t let that scare you because it’s a beautiful grain pattern again. Oddly enough, you don’t see any increase, in contrast, using HC-110, but you do see an increase in the film’s sharpness. I also noticed that you see a darkening in the skies as if I had a yellow filter on the lens, which is a nice touch.

Spike in Blue SkyA Peaceful SceneThe Ultimate BankThe Falls!

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

Roll 03 – Kodak TMax Developer
I’m going to come right out and say it, TMax Developer and Pancro 400 is not the best combination. While shooting it in 35mm didn’t help, but the grain is fairly out of control, and the contrast is way too strong, and that’s with using a 1+9 dilution which should tame the contrast in the film. And while I’ve seen TMax do good jobs with classic grained films, it certainly does not do that job with Pancro 400.

CCR:FRB - Review 07 - Bergger Pancro 400 - Roll 03 (TMax Developer)CCR:FRB - Review 07 - Bergger Pancro 400 - Roll 03 (TMax Developer)CCR:FRB - Review 07 - Bergger Pancro 400 - Roll 03 (TMax Developer)CCR:FRB - Review 07 - Bergger Pancro 400 - Roll 03 (TMax Developer)

Techincal Details:
Nikon F5 – AF-S Nikkor 14-24mm 1:2.8G – Bergger Pancro 400 @ ASA-400
Kodak TMax Developer (1+9) 9:00 @ 20C

Roll 04 – Rodinal
You’d think I was crazy for putting a one-stop push and developing in Rodinal, but hey, when you’re reviewing a film, you have to take the good and the bad. But you know, Pancro 400 is a surprising film, even when shot indoors under less-than-ideal lighting conditions. Is the film grainy, yes, but not as much as I would have expected! The tones are rich, the contrast is deep, but the shots are amazing! And they actually look better than the TMax developer and that was shot at box speed.

CCR:FRB - Review 07 - Bergger Pancro 400 - Roll 04 (Rodinal)CCR:FRB - Review 07 - Bergger Pancro 400 - Roll 04 (Rodinal)CCR:FRB - Review 07 - Bergger Pancro 400 - Roll 04 (Rodinal)CCR:FRB - Review 07 - Bergger Pancro 400 - Roll 04 (Rodinal)

Technical Details:
Nikon F90 – AF Nikkor 35mm 1:2D – Bergger Pancro 400 @ ASA-800
Blazinal (1+25) 13:00 @ 20C

Final Thoughts
If you’re looking for a solid option for a classic film that looks like the high-speed films of the mid-twentieth century. Rich tones, contrast and grain, but all in a good way. You get a look at your images like those from the photography of the Second World War. While grainier than most modern films such as HP5+ and Tri-X, it still is a solid option for most photography out there. But I would avoid using TMax developer, especially in the 35mm format and stick with more classic developers like D-76, HC-110, Pyrocat-HD and Rodinal even with a push.

CCR:FRB – Review 06 – Rollei Retro 400s

CCR:FRB – Review 06 – Rollei Retro 400s

I first came across Retro 400s at Downtown Camera, I had just been on a Toronto Film Shooters meetup and had some time to kill before meeting up with a friend to catch a show at the Dakota Tavern and had the hankering for some street photography. So I picked up a roll and went out and I found a wonderfully sharp, contrasty film that just sings in the low hazy light. Retro 400s is a film that is designed for the hybrid era, with a polyester base that lays flat on a scanner, strong contrast and fine grain it will sign viewed on a screen.

CCR:FRB - Review 06 - Rollei Retro 400s

Film Specs
Type: Panchromatic B&W, up to 750nm.
Film Base: Polyester
Film Speed: ASA-400, Latitude: 25-800
Formats Avaliable: 135 & 120

Roll 01 – Kodak D-76
I’m not too sure if it’s the filter or the developer, but Retro 400s is insane in D-76, I mean the images speak for themselves. You get the full effect of the extended red sensitivity of the film stock right here, and that’s only with a pale yellow filter. So another test will have to be done to see if it’s the developer or the filter. Either way, the negs are insanely sharp, and the contrast even without a filter I’m sure would be right on the money. I do think however you might want to pull the film between 320-200 and develop normally.

CCR:FRB - Review 06 - Rollei Retro 400s - Roll 01 (D-76)CCR:FRB - Review 06 - Rollei Retro 400s - Roll 01 (D-76)CCR:FRB - Review 06 - Rollei Retro 400s - Roll 01 (D-76)CCR:FRB - Review 06 - Rollei Retro 400s - Roll 01 (D-76)

Technical Details:
Nikon F5 – AF Nikkor 35mm 1:2D (Yellow-12) – Rollei Retro 400s @ ASA-400
Kodak D-76 (Stock) 10:30 @ 20C

Roll 02 – Rodinal
Probably the one thing that really helped here was the semi-stand developing. Stand-Developing is a technique that is relatively new in my tool-kit and I am usually a little hesitant to developing anything faster than ASA-200 in a sharp developer like Rodinal. But in this case, wow, you can really show off the sharpness and resolution of Retro 400s without a real uptick in the gain. While I would like to try stronger dilutions now, the semi-stand method I think works best, in this case, smoothing out both grain and contrast.

CCR:FRB - Review 06 - Rollei Retro 400s - Roll 02 (Rodinal)CCR:FRB - Review 06 - Rollei Retro 400s - Roll 02 (Rodinal)CCR:FRB - Review 06 - Rollei Retro 400s - Roll 02 (Rodinal)CCR:FRB - Review 06 - Rollei Retro 400s - Roll 02 (Rodinal)

Technical Details:
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Rollei Retro 400s @ ASA-400
Blazinal (1+100) 60:00 @ 20C

Roll 03 – Kodak TMax Developer
Probably not the best choice of developers for this film, my choice made only because I had a little left in the bottle, just enough for one more roll. And while it doesn’t show off the true nature of the film it still remains an okay choice, but certainly not my first. But you still get the sharpness and fine grain of this modern emulsion, there is a certain knock back in contrast but you get clean tones across the board.

TFSM Winter '16 - Real People are More InterestingTFSM Winter '16 - Real People are More InterestingTFSM Winter '16 - Real People are More InterestingTFSM Winter '16 - Real People are More Interesting

Technical Details:
Nikon F5 – AF DC-Nikkor 105mm 1:2D – Rollei Retro 400s @ ASA-400
Kodak TMax Developer (1+4) 9:30 @ 20C

Roll 04 – Kodak HC-110
Usually, when it comes to HC-110 I tend to enjoy how a film reacts to the developer. And while it’s not a bad developer for Retro 400s, I feel that the contrast is just a bit off, not bad, just off. Yes, there’s still a good contrast to the negs and they scan beautifully and looking at the negs there’s enough density that a print is possible and would look amazing! But I also find that there’s a general uptick in grain. It’ll certainly be worth trying a future roll in Dilution F to see if I can’t get a better result as I have with Streetpan.

CCR:FRB - Review 06 - Rollei Retro 400s - Roll 04 (HC-110)CCR:FRB - Review 06 - Rollei Retro 400s - Roll 04 (HC-110)CCR:FRB - Review 06 - Rollei Retro 400s - Roll 04 (HC-110)CCR:FRB - Review 06 - Rollei Retro 400s - Roll 04 (HC-110)

Techincal Details:
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Rollei Retro 400s @ ASA-400
Kodak HC-110 Dil. B 6:30 @ 20C

Final Thoughts
Retro 400s while not a normal part of my film choices is certainly one that I keep on my radar, it works great for street photography and even landscape and with the close to infrared qualities in the film you don’t have to go out and spend the money on true IR films or even the filters to get close to that look on this film. While I feel D-76 does the best job with the film, the other three are all tied for runner-up. If you’re looking for a film that is a little different from your average 400-speed emulsion, Retro 400s is certainly worth a look. Plus Retro 400s is available through most stores online and brick-and-mortar.

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.