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It’s always exciting news when a new film hits the market, and it seems that the folks at FilmFerrania are certainly working hard to bring back as much B&W stocks from the original version of Ferrania as possible. Last year we saw the introduction of Orto their newest film since the initial release of P30. And earlier this year they announced the reintroduction of Ferrania P33. P33 is another classic film stock from the Italian manufacturer. With a sensitivity of 160 ASA, the P33 ensures a simpler and more versatile photographic experience compared to the past. Designed to overcome the processing and printing challenges facedRead More →

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Last year, there was an explosion of new film releases from a rebirthed ORWO; while some are variants of their popular black & white motion picture stocks, they also showed off two new colour films. There is still a lot of controversy around ORWO, especially in their future and future film manufacturing capacities. This month, I’m covering one of the two colour film stocks ORWO released last year, NC500. According to the ORWO website, NC500 is based on a classic Agfa colour motion picture film stock. The same film stock used to film the 1985 film, Out of Africa. But this is a new filmRead More →

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If there is the closest thing to a universal developer in the film photography world, that developer is Diafine. If you’re thinking, “Wait, aren’t all developers universal?” You are right; a B&W developer will develop many different film stocks. But it doesn’t often happen that two other film stocks, shot at different speeds, can be developed simultaneously. There are some examples of cross-over, but only a few. Diafine uses three main development times and a couple of unique combinations. These are shared across many different film stocks that allow you to develop multiple rolls shot multiple ways in the same tank. You can also shootRead More →

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Regarding films and photography, you encounter polarisation daily—your choice of film, camera, developer, and even how you shoot or your subject matter. But among the more divisive film stocks, one brand stands out: Foma. Now I’m a reborn fan of Foma films. Initially, I was unhappy with the results, but I soon learned to like them once I learned how to develop them. While I’m still on the fence about Fomapan 200, I’m a big fan of Fomapan 100 and Fomapan 400. And back in 2019, on a trip to Chicago, I grabbed a couple of rolls of Foma Retropan 320, hoping to find somethingRead More →

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What Was I Thinking… In the world of film developers, there are many options for almost any film type and situation, and then there are the weird ones associated with closed imaging systems. And then there are developers like Formulary FX-2. I enjoy working with the strange, trying to use them to crack a tough film stock or figure out where a developer will fit within my film-developing kit. And through these reviews, I have found several that will be useful going forward. Developers like FX-39 II, Atomal 49, and R09 Spezial have now found spots in my kit as excellent film development tools. AndRead More →

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Holga Week here in Canada is always a gamble; being the first week of October each year, the weather can often turn nasty. Last year we were treated to some fantastic weather, and I am happy with the results I got. But could magic strike twice? The long-range forecast for next week looked good! And having no actual weekend plans, I decided to choose three films out of my stash and shoot around Sheridan College. Unlike last year, I also filmed a video for my YouTube Channel that drops in November. I have yet to get another Holga camera to throw into the mix, soRead More →

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This month is a weird entry into the project. for this year. I have focused on a single place to photograph, usually a town, location or event—something with a defined history and story, and yes, even a maple syrup festival counts. And no, before you ask, I’m not a closet K-Pop fan, and this has nothing to do with the band by the same name. Instead, B.T.S. is a term used within film/T.V./theatre to indicate behind-the-scenes. The idea came from a challenge that I gave to a person over on Twitter who wanted an idea for photography. I suggested that he photograph the backsides’ ofRead More →

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Say what you will about kit lenses; some are good, some are bad, and some are fine. This lens is among those ‘fine’ lenses, they do the job, but there’s nothing special about the Canon 28-80mm f/3.5-5.6 II, but it does a good job and does what it says on the tin. And while I did not go into this with a good view of the lens expecting troubles at open apertures or softness at the 80mm focal length. But the lens had none of these common elements I’ve found on other kit lenses, which is certainly surprising. Lens Specifications Make: Canon Model: Zoom LensRead More →

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When it comes to lenses, I enjoy working with wide-angle offerings, and they can genuinely tell you how dedicated a company is to manufacturing and designing quality optics. And even with my limited experience with Canon EOS lenses, the 28mm f/2.8 surprised me. It’s a tremendous carry-around lens that, despite being a first-generation model, still stands up today as delivering quality results in an affordable lens. And this was the second EOS lens I picked up, as I knew I wanted something fast and wide that wasn’t a zoom lens. Lens Specifications Make: Canon Model: EF 28mm 1:2.8 Focal Length: 28mm Focal Range: ∞ –Read More →

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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 →