Ever since the invention of the automobile and aeroplane, the way people moved changed rapidly. Henry Ford’s Model T put the dream of a personal car within reach; improvements in planes through the inter-war period into World War Two and the post-war period allowed long-distance travel at an even faster rate. While steam motive power continued to drive many railroad operators through the war, the rise of diesel began to reshape even the train industry. Through the war, fuel and material shortages spiked passenger train services, but even now, those were starting to decline. It became clear that the golden age of rail had comeRead More →

When it comes to slide film, it is not something that I like to shoot often, mostly because when it comes to processing, it’s time-consuming and costly; even purchasing the stock is costly. Plus, scanning some slide films stocks are difficult to nail down both exposure and colour balance. And then there’s Provia 100F; Provia is a solid performer and one that gives an excellent starting point in the world of shooting slide film. It reminds me of Sensia and Astia, both excellent slide films with a bit more forgiveness than the Velvia line and natural colour reproduction. It also scans easily without too muchRead More →

When it comes to the name Velvia, most photographers will often latch onto the cult classic Fuji Velvia or its modern form, Velvia 50. But Fuji also released a one-stop faster version, Velvia 100 or 100F, which offers everything you like about Velvia 50 but in a slightly faster form. While I’ve shot plenty of slide films, Velvia 100 is one that I have far less experience with; again, I’m more likely to shoot Provia, Ektachrome, or Astia (RIP) when shooting a 100-Speed slide film. But Velvia 100 is an interesting animal and one that I’m not likely to shoot again. So I wasn’t tooRead More →

While Fuji Velvia was not my first experience with slide film, it is certainly is the one that made me like slide film. First released in 1990, the film became an immediate threat to Kodachrome, especially Kodachrome 25. And unlike Kodachrome, Velvia used the standard E-6 process that could be done in any lab that covered the process. No need to send it to speciality labs, and you could have your slides back the same day from the right lab. The name itself comes from combining Velvet and Media to describe the smooth images produced by the stock. While the original version was discontinued inRead More →

The year was 2012; I had been shooting film in a far more serious way for three years at that point. I learned of a speciality film store called Freestyle Photographic from an episode of the Film Photography Project. They had all sorts of weird films from Europe that I had never heard of nor seen at my local camera store (which at that time was either Henry’s or Burlington Camera). With companies like Efke and Adox, strange, exotic for my North American sensibilities. I purchased a pile of Efke and Adox CHS Art films, both in 35mm and 120, 50 and 100-speed offerings. WhileRead More →

I remember it clearly, having walked into Henry’s store to get film for an upcoming PYPS weekend, Winter Weekend 2006 in Oshawa, Ontario. I don’t remember exactly why I pulled the roll of Sensia 400 off the rack; my jam in those days was colour negative films. But that was also the weekend that I had a digital camera for the first time, so maybe I started to branch out in my shooting. Sensia was the right speed I usually shot (400), and the name was close to Superia (at a glance), and my journey into slide film had begun. Eventually, I branched out andRead More →

Several years ago, when I was starting to branch out in my home film developing, I would try a lot of different, strange, and odd-ball developers. Sure I went with the basics, D-76, HC-110, Rodinal. But as I continued to listen to the Film Photography Podcast, I started to get my hands on stranger items, PMK Pyro being the first speciality developer and from there Pyrocat-HD which has become a fast favourite. But then I heard Matt talk about a developer call FA-1027. The next trip I made to New York City, I popped into B&H and got myself a bottle. Sadly I have onlyRead More →

These days I will rarely work with Ilfosol 3, but it remains a developer that I always keep in the back of my mind. After learning how to develop my own black & white film from my good friend Julie using Kodak D-76, it would be a few more years before I started taking on the process full time. When I went into Burlington Camera to get all the equipment I needed to take on the daunting task some eight years ago, Joan pointed me towards Ilfosol 3 as a good starting point when you didn’t want to keep a large quantity of developer mixedRead More →

When it comes past projects related to history which I have written, the foundations of the events which I planned to explore are relatively modern happening some three to two hundred years in the past. A small drop in the bucket of the history of our planet. But when it comes to the Welland Canal, the foundations of that canal take place in the dark distances of prehistory. The need for a canal across the Niagara Peninsula is related to a massive limestone cliff that cuts across the modern province of Ontario known today as the Niagara Escarpment. Today the cliff runs from the NiagaraRead More →

I’ll be the first to admit; I never was a fan of TMax Developer. It was, at least in my mind initially TMax developer was a one-trick pony. Suitable for only modern T-Grain films (TMax, Delta, Acros). But that quickly changed as I started to branch out and trying to see what the developer can do with both modern film grain and classic grain. I discovered that TMax developer is something a little more than a one-trick pony. Technical Details Manufacture: Kodak Name: TMax Developer Primary Developer: Hydroquinone Type: Reusable or One-Shot Mix From: Liquid Handling TMax developer is a liquid, it runs clear andRead More →