Tag Archives: 120

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.

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.

Film Review – Rollei RPX 100

Next in line is the middle-ground for the RPX line, RPX 100. And frankly, this is another winner in my book. Beautiful tones, fine grain structure and a tremendous latitude! The film is seriously the Portra 400 of the RPX line. I may even go as far to say this film is just a little better than my two favourite mid-speed films, Kodak TMax 100 and Ilford FP4+.

Product Highlights

  • Type: Panchromatic B&W Negative Film
  • Base: Polyester (PE)
  • Film Speed: ASA-100, with a Latitude between ASA-25 and ASA-800
  • Formats Available: 35mm/120

52:500c - Week 15 - A Fort Named George
Hasselblad 500c – Carl Zeiss Distagon 50mm 1:4 (Red) – Rollei RPX 100 – Rollei RPX-D (1+15) 6:30 @ 20C

52:500c - Week 27 - The Ships of Summer
Hasselblad 500c – Carl Zeiss Distagon 50mm 1:4 – Rollei RPX 100 @ 100 – Kodak Xtol (Stock) 8:00 @ 20C

The Good
If you’re looking for a solid middle of the road film with plenty of room on either side of the box speed, this is certainly one to try. I have not experimented with the range beyond box speed only because it looks just beautiful right at ASA-100. While I was worried about this film at first when I shot it back in October of last year, I felt that it lacked the contrast where I wanted it. But after playing around with other developers, I found that it could be done at a good contrast point. This film sings in almost any developer that you soup it in, especially the specifically designed RPX-D developer. In fact, I find this film a close cousin of Kodak TMax 100 and often behaves in the same way, in fact when I went to use FA-1027 I used the TMax 100 times with great results. I have also noticed that it does respond well to contrast filters especially with either Orange or Red filters to darken the sky on bright days with beautiful clouds. And finally there’s the grain, it’s a good structure and even in sharp developers like Rodinal, it doesn’t make the grain look terrible.

52:500c - Week 31 - Vieux-Québec
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Rollei RPX 100 @ ASA-100 – Kodak HC-110 Dil. B 9:00 @ 20C

52:500c - Week 19 - The Gully
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Rollei RPX 100 @ ASA-50 – Kodak Xtol (1+1) 8:30 @ 20C

The Bad
The one thing I don’t like about the film is that in certain developers you can get a lack of contrast, mostly in Xtol cut 1+1, but I mean that’s just a personal preference. As I mentioned before the film is fine grain, which is true but you have to keep that agitation light. I’ve found that in HC-110 if I’m a little rough on the tank, you will get a bit of an uptick in grain.

52:500c - Week 22 - A Farmer's Life
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Rollei RPX 100 @ ASA-100 – Blazinal (1+50) 17:00 @ 20C

52:500c - Week 26 - Close to Home
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Rollei RPX 100 @ ASA-100 – FA-1027 (1+14) 9:30 @ 20C

The Lowdown
If you’re balking at the price increase on Kodak TMax films then this might be a good alternative and it readily available both in Canada and the United States and offers similar times so even with the limited ones specifically for RPX100 you can experiment and begin to use the TMax times. Just remember if you’re a little unsure give a clip test first. I wish that Rollei would begin to produce this film in 4×5 as well, but hey, you can’t be too picky these days.

Film Review – Rollei RPX 25

When I first learned about the RPX line of film I was pretty excited, these days we often get news of discontinuation of films more than the addition of a new film stock. I was also excited when I learned that these would be the modern reincarnation of the legendary Agfa APX films and what a return to the photographic stage. Now these films are produced by Agfa but marketed under the Rollei Name. So with my on going 52-Roll project just past the halfway mark I figured now would be a time to give them a bit of a review! So to kick it off I’m going to review the slowest of the three flavours, RPX 25 and so far my favourite of the lot.

Product Highlights

  • Type: Panchromatic B&W Negative Film
  • Base: Polyester (PE)
  • Film Speed: ASA-25, with a Latitude between ASA-12 and ASA-50
  • Formats Available: 35mm/120/4×5

The Good
I’m not going to lie; I love slower films these days, and the RPX25 doesn’t fail. The film delivers on its promise of being a fine grained film and sharp. I mean razor sharp. I’ve had excellent results developing this film in Rodinal and HC-110. It really likes Rodinal at 1+50 dilution and delivers super sharp negatives and fine grain which is something coming from a sharp developer. In HC-110 the high contrast nature of the film really shines but still provides a sharp image with a bit of an uptick in the visible (but beautiful) grain and you still have some great mid-tones. A huge plus for the RPX 25 is that it’s available in both roll film and sheet film, that’s right an ASA-25 sheet film. Something that hasn’t been seen natively in a long time.

52:500c - Week 10 - Capital National
Hasselblad 500c – Carl Zeiss Distagon 50mm 1:4 (Yellow) – Rollei RPX 25 @ ASA-25 – Blazinal (1+50) 11:00 @ 20C

52:500c - Week 17 - No Place I'd Rather Be
Hasselblad 500c – Carl Zeiss Planar 80mm 1:2.8 – Rollei RPX 25 @ ASA-25 – Kodak HC-110 Dil. B 5:00 @ 20C

The Bad
There are a couple of points against this film, which aren’t really all that bad, they’re more minor annoyances. The first is developing times, often if you’re getting into highly-dilute developers, even 1:1 you’re looking at 10+ minutes but the results speak for themselves. And these are just the results using medium format, I haven’t had a chance to shoot this film in 4×5 but I’m sure the results will be even better. Another thing that might be of an issue with some folks is that if you’re developing for under ten minutes you will want to use a chemical stop bath. And continuing on the theme of developers there are a limited number of times available for this film stock. But it is still the new kid on the block, so it is just a matter of time.

52:500c - Week 21 - Welcome to the Roc
Hasselblad 500c – Carl Zeiss Distagon 50mm 1:4 – Rollei RPX 25 @ ASA-25 – Blazinal (1+25) 6:00 @ 20C

52:500c - Week 29 - Lovely Saturday Drive
Hasselblad 500c – Carl Zeiss Distagon 50mm 1:4 (Yellow) – Rollei RPX 25 @ ASA-25 – Blazinal (1+50) 11:00 @ 20C

The Lowdown
If you’re a fan of slow films, this is not one to overlook, or if you’re in the old school and loved APX 25 then this film is certainly a real winner for you. A future classic for sure. Ideal for landscape and architecture work as you do want to use a tripod to get the full experience with it. Although even on a sunny day you can hand-hold it. And being available in the three top sizes for photography it certainly is an excellent product that I plan on using in the future. And plan on expanding that list of developing times.

CCR Review 42 – Zeiss-Ikon Super-Ikonta 531/2

Indiana Jones, style, class and a taste for adventure. The 1930s were a great time save the crippling economic depression and Nazis but who needs to worry about those when you have a slick looking camera that can turn heads and take find photos as well? Two things that make the folding style of camera special. The first is that they don’t take up a lot of space, second, they look fantastic! And while I don’t use this style camera much, in fact, I don’t even own one; the Super-Ikonta is a beautiful camera and fun to operate. Special thanks to James Lee for loaning this camera out for this review!

CCR Review 42 - Zeiss Ikon Super-Ikonta 53 1/2

The Dirt
Make: Zeiss-Ikon
Model: Super-Ikonta 531/2
Type: Rangefinder
Format: Medium Format (120), 6×9
Lens: Fixed, Novar-Anastigmat 1:3,5 f=10,5cm
Year of Manufacture: 1938

CCR Review 42 - Zeiss Ikon Super-Ikonta 53 1/2

The Good
I like this camera, it’s fun to use and looks fantastic! Plus the images it produces are wonderful, aside from a bit of camera shake, the image’s optical quality is spot on. Plus who can complain when you have a nice big 6×9 negative. But one of the best parts of this size, despite producing such a large negative the camera itself, when folded, is actually fairly compact. It doesn’t take up a lot of space in your kit when it is folded up. The final key to this camera being far better than many other folders out there is right in the name, ‘super.’ Most German cameras in the era would add the “Super” in front of the name to indicate that the camera is a rangefinder. That’s right, this camera from the thirties has a complete coupled rangefinder that when you’re composing the shot makes it really handy to ensure you’re in focus. And speaking of compostion, the viewfinder on this camera, while it lacks any sort of optical qualities other than two metal frames you look through, it actually pretty easy to use and you get minimal error due to offset from the viewfinder to the lens which is a big deal!

CCR Review 42 - Zeiss Ikon Super-Ikonta 53 1/2

The Bad
Now despite actually being an excellent camera, there are some issues that I have with it. And those issues are mostly around usability. The Super Ikonta is not the fastest or simplest camera to operate. While the rangefinder is handy, the focusing window is pretty small, and unless you have superb contrast in the scene the image overlay is pretty dim, that could be due to the age of course. And don’t expect to be rapid firing this beast, not that you should, with 6×9. You’re looking at a three step process, advance the film first to disengage the double-exposure prevention lock, then advance to the next frame then cock the shutter. Trust me; I forgot this at least fifty percent of the time. Of course being a first time user it may just be due to not having the practice for the camera.

CCR Review 42 - Zeiss Ikon Super-Ikonta 53 1/2

The Lowdown
If you want more shots for your roll, this certainly is not your camera, but if you’re looking for quality over quantity than this is certainly a camera for you. But if you are looking for such a camera you have to watch out for a few things. The first being these are for the most part all timeworn cameras. The first thing to check for is the bellows, make sure they’re still light-tight. Use a flashlight inspection both on the inside and outside of the bellows will do the trick. Then check the shutter and make sure it’s working well and consistently. You may notice that there were several images included here that had a lot of camera shake, I think the shutter on this one is off slightly.

All photos taken in Marquette, MI
Zeiss-Ikon Super-Ikonta C 531/2 – Novar-Anastigmat 1:3,5 f=10,5cm – Kodak Technical Pan @ ASA-25 – Kodak HC-110 Dil. F 12:00 @ 20C

CCR Review 31 – Kodak No. 2 Hawk-Eye Model C

If you ever wondered how the average consumer took photos 100 years ago look no further. This is the oldest camera in my collection with a manufacturing date of 1916 but despite the age it still works perfectly! Mostly because it takes a still available film size! And even more impressive is that it still works like a charm. Oddly enough for the longest time I thought that this camera was some weird Canadian version of a No. 2 Brownie and had continued to all it as such it was only recently that I learned the actual name for the camera, the No.2 Hawk-Eye Model C, a simplified version of the No. 2 Hawk-Eye.

CCR - Review 31 - Kodak No. 2 Hawk-Eye Model C

The Dirt
Make: Kodak
Model: No. 2 Hawk-Eye Model C
Type: Point and Shoot
Format: Medium Format (120), 6×9
Lens: Fixed, Kodak Meniscus Lens 10cm f/11
Year of Manufacture: 1913-1924, this particular model was produced 1st of February, 1916.

CCR - Review 31 - Kodak No. 2 Hawk-Eye Model C

The Good
For 100 years old this camera surprisingly takes some beautiful photos even with a single element lens you’re getting actual sharp images and having a beautiful 6×9 negative helps also. And for a camera made out of card stock on the exterior body it remains light tight. As for ease of use it is a point and shoot. Guess aim and pull the trigger. But it is hard to carry.

CCR - Review 31 - Kodak No. 2 Hawk-Eye Model C

The Bad
Probably my biggest issue with the camera is that you are pretty much limited to portrait orientation and there is no viewfinder for landscape, not that you need it anyways considering you really just aim and shoot. Despite being a native 120 camera the film take up isn’t exactly even, and you do even up with some bulging in the taken up film so watching with the unloading of the camera. And finally the construction of these cameras were pretty cheap with exterior made of a stiffened paper/cardboard/cardstock product they are very easy to damage mainly the red window to show the frame number. Most cameras I’ve seen in antique stores are in rough shape.

CCR - Review 31 - Kodak No. 2 Hawk-Eye Model C

The Lowdown
Unless you really want to get down in the mud of reenacting World War 1 this really isn’t a camera I can recommend anyone get. And even for WW1 reenacting a Kodak Vest Pocket would be a better choice historically (and yes you can still get 127 film). This camera would make a better choice for a decoration piece or photoshoot prop than an actual camera out in the field. Mostly because of the age and construction they could easily be damaged. Of interesting note this particular model camera was so popular it was re-released in the 1930s at the 50th Anniversary of Eastman Kodak.

If you want to read more about the No. 2 Hawk-Eye, check out Brian Moore’s blog on the Film Photography Project site.

All photos taken at Bronte Harbor, Oakville, Ontario
Kodak Hawk-Eye No. 2 Model C – Kodak Meniscus Lens 10cm f/11 – Kodak TMax 100 @ ASA-50 – Kodak Xtol (1+1) 8:45 @ 20C

Plastic Filmtastic

I was bitten by the toy camera bug a while back after getting a Holga, which has served me well, but recently on the Film Photography Podcast they were pushing this odd “new” camera that Michael Raso had discovered on “The Bay” named The Debonair, it looked like a cross between a Diana and a Holga. He had managed to stumble upon a lot of 2000 of these cameras sitting in a warehouse in Rochester, New York. I didn’t need another toy camera, but after seeing some of the shots out of the camera I needed to get one, and at twenty bucks, it wasn’t that expensive.


The camera itself is fairly light weight, but still feels solid in my hands, good control placement also. The camera is all plastic, built in the 1980s in Hong Kong, features a “Super” 60mm f/8 lens with two shutter speeds, one for sun, one for cloudy/flash. Focus is handled by the zone system, and it has a hotshoe, but doesn’t need batteries to operate a flash, which is a plus! It takes your regular 120 roll film and shoots in a portrait orented 6×4.5 format giving you 16 shots on a roll of film.


Optically I was surprised at the all plastic camera, the images when focused right came out really sharp with plesant vingetting around the edges, and with a flash makes for a great party camera. The one issue I have with the camera is loading it. You slide the entire back/bottom off the camera to load the film, and putting this back on is a bit of a pain, but in the end worth it for the wonderful images you get out of the camera. I do highly recomend this camera as a nice way to get into toy camera photography, very unassuming and no-nonsense, and more importantly it’s fun. And in the end isn’t that what photography should be…fun? At least I think so.

Let me explain this...

So why not Pick one up in the store today!

All images shot with the FPP Plastic Filmtastic Debonair on Fuji Neopan Acros 100 developed in Kodak HC-110 Dilution B for 5:00 at 20C.

Photostock Pt. 3 – The Location

Ontario is beautiful, there’s no changing that, but sometimes you leave and go someplace else and only find that the same beauty you so like in the north can be found elsewhere, that’s exactly how I felt when I drove through Northern Michigan. I feel the state gets a bad rap because of places like Detroit and Flint (New Jersey is the same way), but there is incredable beauty to be found in the northern part of the state. You will be treated to miles of wooded areas, quant villages, friendly people, and sunsets…well sunsets.

Cross Village Port
The beach and port at Cross Village. A quick stop, before returning to the Birchwood.

The Harbor.
Harbor Springs, now a favourite town of mine. Plus a late night fudge shop helps alot.

Fort Michilimackinac - 1715-1780
Fort Michilimackinac a french outpost taken by the British in the Seven Years War, destroyed with a new fort was built out on the island.

Horses at Dusk
There was a horse paddock next to the Birchwood, which gave us a good chance to grab photos.

Petosky Harbor
The harbor in Petosky, sadly I wasn’t able to spend too much time here. Maybe next year.

Photostock 2012
Fence line along the M-119

Playing with ORWO

Photostock 2012
I did promise you a sunset. And here it is.

Toy Camera

When you use Leica, Nikon, Carl Zeiss optics the idea of plastic lenses and “toy” cameras will often scare a photographer, you really don’t know what you’re going to be getting out of your image. It certainly won’t be the sharpest image on the block, vignetting is going to be there, soft focus, light leaks, all very possible. Add Expired film into the mix and things just start getting dicy.

Something that many photographers won’t even touch, and I used to be like that…until I picked up, on a whim, a Holga from The Film Photography Project. And instantly was dragged into the wonderful world of toy camera photography. I just had to tell myself “the images won’t be perfectly exposed, they’ll be out of focus, and probably look weird” and sure enough they did.

But I was okay with this. I recently took my holga out to a small group retreat back in march but never got around to scanning the film I shot, until recently and found that I really liked these images.


Seeing Double

Through the Woods

Golden Wastes

Come Along Pond

Holga 120N – Kodak Tmax 100 (TMX), Kodak Ektachrome Lumiere Pro (LPP)

Project:1812 – The Battle of Chippawa

The Battle of Chippawa is unique among the engagements during the Anglo-American War of 1812 as it was the only one to feature a full proper European style engagement on both sides of the field. Line infantry tactics did not lend themselves well to the rough terrain of North America, so most engagements were a mixture of both skirmishing and line tactics dictated by the terrain. But Chippawa would go down as the only full-scale European-style battle of the entire war.

Niagara Parkway - March 2012
The memorial to the Battle of Chippawa as in stands on the maintained section of the Battlefield.
Canon EOS A2 – Canon EF 35-105mm 1:3.5-4.5 – Kodak Portra 400 – Processing By: Old School Photo Lab

By the 3rd of July 1814, the third and final invasion of Upper Canada had gotten under way. A massive army under the command of General Jacob Brown and General Winfield Scott had landed and forced the surrender of the British garrison guarding the still under construction Fort Erie. But unlike the previous year’s spring invasion Brown and Scott were not going to make the same mistake by securing their beachhead. Brown sent Scott’s division forward that same day ordering them to advance as far as Street’s Creek and hold there. When Riall learned of the surrender of the Fort Erie Garrison, he ordered the garrison commander, Major Buck to hold at the village of Chippawa as he advanced his force forward.

Project:1812 - The Battle of Chippawa
The Chippawa Battlefield is one of the only War of 1812 battlefield in Canada to remain fairly untouched.
Pentax 645 – SMC Pentax A 645 75mm 1:2.8 – Ilford HP5+ – Processing By: Old School Photolab

Riall planned to test the American resolve and ordered forward a group of Native and Militia troops. The skirmishers were enough to rattle the light division of General Ripley sending them back towards Scott’s main line and just in time to witness the arrival of General Brown’s division much to Ripley’s disappointment. It was playing out exactly how Brown and Scott wanted. They had hoped to meet the British in a pitched traditional battle, and Riall was marching right into that play. The dust kicked up by Riall’s army alerted the Americans to the British presence, and they began to line up and meet the regulars. Legend has it that upon Riall’s view of Scott’s division he scoffed noting the gray coats. He was confident that his regulars were facing nothing more than a group of militia. And like many militia units on both sides of the war, they had a tendency to cut and run in the face of well training regular troops. But Riall did not realize that this was not a militia army, but rather a group of regular US Infantry trained under the watchful eye of Brown and Scott. The trouble was that there had been no time to dye the gray wool the regular blue.

Regimental Colours - 9th US Infantry
The Regimental Colours of the 9th US Infantry that they carried during the battle, now displayed at the Westpoint Academy Museum.
Nikon D300 – Nikon Series E 28mm 1:2.8

The chilling fact was that these were no ordinary regular American infantry either. Training under Brown and Scott had molded them into an effective fighting force. Gone were the days when even American regulars would run in the face of the British regulars. Each side stood toe-to-toe trading deadly and efficient volley fire against the other. The American artillery took its toll as well blasting Riall’s army with shot and shell. As the bloodletting continued, Scott began to advance his gray coated 9th US Infantry but in a curious manner. While the center of his line held back, the two flanks moved up faster. Through this maneuver Scott began to outflank Riall’s army, knowing he was defeated ordered the 1st (Royal Scots) and 100th Regiments to fall back covered by 8th (King’s) back to the fortified lines at Chippawa. But the advance of the Americans pushed Riall further back eventually barricading the army at Fort George while Brown’s army again captured Queenston Heights.

Project:1812 - The Battle of Chippawa
Looking out at the memorial from the Niagara Parkway, a series of self-guided signs walks you through the battle.
Pentax 645 – SMC Pentax A 645 75mm 1:2.8 – Ilford HP5+ – Processing By: Old School Photolab

Today the Chippawa Battlefield is one of the few left in Canada from the Anglo-American War of 1812 that remains fairly intact against the urbanization of the province over the past 200 years. While much of it remains a wild and rough area, the site was a former farm field, and you can still see the old plow lines. There is a visitor’s area with a memorial cairn built from stones of Fort Erie, Fort George, and Fort Niagara as well as a self-guided tour with interpretive signs.

Written with files from:
Collins, Gilbert. Guidebook to the Historic Sites of the War of 1812. Toronto: Dundurn, 2006. Print
Hickey, Donald R. Don’t Give up the Ship!: Myths of the War of 1812. Urbana: U of Illinois, 2006. Print.
Hickey, Donald R. The War of 1812: A Forgotten Conflict. Urbana: U of Illinois, 1989. Print.
Lossing, Benson John. The Pictorial Field-book of the War of 1812. Gretna, LA: Pelican Pub., 2003. Print.
Berton, Pierre. Flames across the Border, 1813-1814. Markham, Ont.: Penguin, 1988. Print.