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Back in May the fine folks at Harman Technologies, the parent company of Ilford Photo and Harman Photo announced their newest film stock, Kentmere 200. The Kentmere line of film is designed to be a more budget friendly film stock, lower silver content than the main line of film stocks. Now I did not like this film when I first ran them through reviews, I did like Kentmere 100 more than Kentmere 400. But now I like both, so I was notably excited when Kentmere 200 was released. This puts the Kentmere line in the same range of the other budget friendly films, Fomapan. NowRead More →

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One of the most rewarding and frustrating parts of working with traditional film mediums is developing the film yourself. This often allows for faster turnaround and greater control. However, when things go sideways, you can only blame yourself. I started developing black & white film myself over ten years ago now for two reasons. First, I was inspired after attending my first Photostock event, where I saw all the fantastic work people were doing and had the opportunity to chat with my good friend Matt Marrash. Second, my local lab had reduced its processing to a single day of C-41. The owner (Joan) took meRead More →

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The folks at the Film Photography Project have once again reached into their bag of tricks and brought out the latest addition to their line of monster films, in this case Jiangshi 400. The name Jiangshi honours the jumping vampire (and ghosts) of Chinese legend. The film itself comes from China and is relatively new to the North American market. While rated at ASA-400, most signs point to the fact the film responds better when over-exposed by a stop at ASA-200 and pulled in development, so I’ll be shooting all four roll at that ASA-200 mark. Although like many films out of China the emulsionRead More →

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There are small cameras; then there are small ones; the Pentax MX is one of the latter. Released as Asahi’s response to the Olympus OM-1, the Pentax MX took things to the next level with the size. The M-Series of Pentax SLRs are strangers to me; I’ve used the ME, ME Super and even an MG, but never an MX. Save for a brief encounter with an MX in Bill Smith’s collection for a CCR Episode (Ep. 36 – Last But Not Least) So when I started to look for one a few years back I found that they were rare on the used marketRead More →

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At the end of my 24mm f/2.8 review I asked: Do I now need to find and invest in the 20mm? Well if you’re reading this review, the answer was yes. I enjoy working with wide-angle lenses, and while I do have the lovely 17-35/2.8-4 D ultra-wide zoom, there’s something special about an ultra-wide prime lens. I started looking at getting this particular lens after I finished my 24/2.8 review for the A-Mount. The desire to add one to my A-Mount kit only increased after picking up the 14mm f/2.8D for my Nikon kit. I was always concerned about the cost of these lenses; usually,Read More →

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If you have never heard of FX-37, don’t worry. I didn’t know about the developer either until I saw a post from Flic Film about it on their Instagram feed. It fits in with the plethora of other “FX” developers, some of which I have reviewed on the blog (FX-39 II and FX-2). FX-37 is the invention of noted British photographer Geoffrey Crawley to solve the problem of sharpness in T-Grained emulsions. As a developer, FX-37 is a non-solvent developer designed to maximise the sharpness of these modern emulsions but can also work with traditional cubic-grained films. Technical Details Manufacturer: Flic Film Name: Crawley’s FX-37Read More →

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The Minolta Zoom 24-105mm is Minolta’s late-model elevated kit lens, released initially with the Maxxum 7. It was designed to be better than the lower spec kit lens, the 28-100mm. And you know, when you put the two lenses next to each other, the 24-105 is a far better lens and doesn’t carry a hefty price tag. In all fairness, I was not happy with the results I got from the 28-100, and my copy broke and had to be fixed with a doner lens. However, the 24-105 is only slightly better as a lens because despite being an elevated kit lens, it is stillRead More →

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When I hear the name Miranda I think of two things first and foremost, number one is Star Trek and the venerable Miranda Class that first appeared in Star Trek II: The Wrath of Khan and has remained a staple of the Federation Starfleet (I prefer the roll bar version) the second is Shakespeare which is where the class name takes its inspiration from. But when it comes to cameras, the Miranda brand is one that doesn’t get much respect, despite being an innovative company that sadly lacked the level of quality assurance that the bigger names could provide. I first learned about Miranda camerasRead More →

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So far in this ongoing series, I have only focused on my written content, mainly because there continues to be an influx of AI-generated blog posts. But this isn’t the only area where AI is starting to get in the way of real creative content. AI videos are a thing with avatars that can act and look like real-life people. Also, the number of ‘faceless’ videos with obviously generated images and voices is large. I’m happy that my channel is AI-generated content-free and always will be! Let’s dig into the process of how I go about creating a YouTube video. In the case of thisRead More →

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Kit lenses: I have ones I like and others I’m not too fond of; of the ones I’m not too fond of, it’s the Canon Zoom Lens EF 28-80mm. After using the lens extensively last year for the Frugal Film Project, I realised that it has many things that could be improved in the optical quality and set out to get my hands on Canon’s elevated kit lens, the 28-105mm USM. I also used the lens while reviewing the Canon EOS Elan 7ne and A2. First introduced in 1992 as the standard kit lens for the EOS A2, it features the USM or Ultra SonicRead More →