Light or Dark, Chocolate is one of my favourite treats, especially in ice cream form. But when it comes to film, it becomes a classic type 100 film that I loved to work with for the limited time I had access to well-stored packed. I first got a taste for this lovely film during the earliest days of the Impossible Project when the folks got their hands on an entire warehouse of new-old-stock of integral and packed films and sold them to help raise capital for the recreation of integral films. And I went with a whole pile of different options, colour, black & white,Read More →

When it comes to film from FilmWashi, they can get their hands on some pretty unique stocks. And I’ve had some good luck with most of their films; others have struggled a bit. Thankfully I’ve been working through my wish list in their catalogue and have gotten my hands on most of them. But one has been out of stock until recently, and that’s FilmWashi A. Described as a motion picture leader film, the film is spliced onto the front of a motion picture prints to help lead the film through the projector. But it can be used for high-contrast uses, like titles or thatRead More →

I expected that Vision3 50D would be my favourite of the three Vision3 films I reviewed this year. The biggest reason is that I love a good slow film; they make you think a little more. After seeing what I could produce with 250D, I also expected more of the same from 50D. I also had the chance to try out the remjet removed version of this film, CineStill 50D a few years back and was impressed by the film. But I cannot say it’s my favourite; I don’t know if it was the ECN-2 processing or the lighting conditions, but I found the filmRead More →

While I certainly used FP-3000b more than FP-100b, but still not as much as I thought I did. The best use of this film I ever got was on a road trip through Michigan, Ohio, Pennsylvania and New York in 2011 (!). FP-3000b is a high-speed instant film that was available in both Type-100 and 4×5 formats and certainly holds up to what a high-speed film should be, but made all the better by the fact that you got a big positive print and after careful preparation a useable negative. It is also one of the two Fuji Type-100 films missed the most by theRead More →

Of all the Vision3 films, 250D is the one I have the most experience with, having shot a couple of rolls and processed them at home. The problem was that when I processed them before, I did them cross-processed in C-41 chemistry. And they looked a little on the green side, but they looked good. And then, when I returned to this film stock with proper ECN-2 (home) chemistry, I was blown away. Under dull conditions, a snowstorm and bright light 250D produced amazing clean images. And it certainly was a significant shift from what I got from last month’s review of Vision3 500T! FilmRead More →

While not as keenly felt when it was discontinued at its colour brother and faster cousin, FP-100b is the black & white instant film offering from Fuji that took a minimal role in my exploration of pack film. Rated at ASA-100 and with plenty of contrast to offer, FP-100b is a film that I honestly have no accurate remembrance of, having only shot three packs of the stuff in my entire time shooting the format. Although it carries the same cult following as the rest of Fuji’s FP lineup, I soon realised I missed the boat with this one. More keen on shooting colour instantRead More →

If you’re thinking, haven’t you already reviewed this film stock? Well, you would be right after a fashion. While CineStill 800T is based on Vision3 500T, it is a version that has been under-exposed by a little under one-stop and had the remjet protective layer stripped away. This is the real deal; released in 2007, Eastman Vision3 5219 500T is a fast tungsten balanced film designed for use under artificial light, specifically those that produce light at the temperature of 3200K. It can also be used in daylight and produces, unfiltered, a blue tinge giving an almost day-for-night look. Of course, you can compensate forRead More →

If there is a single classic film emulsion that kept Polaroid Pack Film cameras going well after the demise of the original Polaroid company, that film is FP-100c. And while the film is no longer available today, it is the film stock that made me turn my head and start looking for Type-100 Polaroid cameras ever since receiving a ColorPack-II from the excellent Michael Raso and the Film Photography Project. FP-100c is the same film that continued the tradition of Polaroid Type-100 pack film that you shoot, then peel apart and shake it (like a Polaroid Picture) to help dry the chemistry. And to haveRead More →

If you’re thinking, wait a minute, haven’t you reviewed Ektachrome? Then the answer is yes; I’ve reviewed the re-release of Ektachrome 100. But this is something a little different, while Eastman Ektachrome Color Reversal Film 5294 was discontinued and re-introduced as a motion picture reversal stock. Reviewing Atlanta Film Co’s Euphoric 100 is probably the strangest film I’ve reviewed because I’m not reviewing it as a reversal film. Instead, I’m reviewing it as a cross-processed film using the Eastman Color Negative Rev. 2 process through a proper motion picture film lab. This is inspired (as the name of the film is) by the TV SeriesRead More →

It seems that Fuji enjoyed cutting off film stocks that had become rather popular among photographers, and most are legendary and much-loved colour-negative film stocks. Recently we saw the end of the Fujifilm Pro 400H along with Superia 200 and Superia C200. But one of the earliest discontinuations I remember that caused ripples through the community is Fujifilm Superia Reala 100, or Reala (the older version of this film). I’ve only tried this film in 120 formats after being gifted several rolls from my good friend Andrew Hiltz and picked up a few more along the way. I always thought it was a 120 onlyRead More →