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While Ortho 80 Plus might appear to be a new film, it isn’t a new film. I’m surprised I missed reviewing the film earlier in this series. I skipped over a film I had shot in the past for a good two years. And thinking back that doesn’t surprise me; the film never made much of an impact. But also the film was, until recently, only available in 4×5. But I also only shot a single box of the stuff back in 2014. The results were excellent, and it was the first time shooting an ultra-low ISO film and one that had no set filmRead More →

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Back last year I made a single roll review of the Eastman 2238 film, but now that I have a lot more resources available to me and having found three rolls sitting in my storage, I decided to do a proper review of this beautiful film stock. As I mentioned in the one-roll review, 2238 is what is called a Panchromatic Separation Film and is used to create archival film prints from colour film prints. Unlike past speciality motion-picture stocks this is a Panchromatic film, meaning it is sensitive across all the colour spectrums. Now, 2238, like all films, is not designed for regular pictorialRead More →

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Can lightning strike twice? Fujifilm thinks it can! In 2018 Fuji ceased production of Fuji Acros 100, just before I released a review on the film that turned into a bit of a eulogy. But then in 2019 Fuji announced that they would reintroduce Acros as a new version, Neopan Acros 100 II. Of course, there were already plenty of conspiracies over the source of Acros 100 which translated over to Acros II, ranging from giant master rolls kept in some deep freezer hidden somewhere in the world. And when the first details on Acros II hit the Internet and a box reading “made inRead More →

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If the standard Svema Foto films are too grainy for you, how about stepping it down a notch and picking up a roll of Foto FN64, or FN64. Before this review, I had only shot a single roll of the stuff, and it did not turn out well. I eventually figured out that due to the thin PET base, the film is subject to light piping, and I ended up fogging the whole roll. Now if you’re a fan of the slower film that is having something different from what you get from other typical films, then FN64 is something for you to try. AndRead More →

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There were plenty of photographers out there who seemed happy that Kodak ColorPlus 200 came to the North American market. But the real question among many was what is the film stock exactly? If you look at the box lots of the standard text is not only in a foreign language but even in foreign characters. Once I opened up the box and popped out the canister, the mystery would be solved, the film canister clearly says Kodacolor 200! Kodacolor itself is an old film stock and was Kodak’s first colour negative film released and produced from 1940 to 1963. The next version, Kodacolor-X wasRead More →

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The second colour motion picture film stock available from our friends at Cinestill. Like Cinestill 800T, Cinestill 50D is based on Kodak’s Vision3 50D, a slow colour film designed for outdoor work, hence the D in the name standing for daylight. The film has been pre-stripped of the remjet layer allowing for easier processing in labs and at home. Although like 800T the film is natively designed for Kodak’s ECN-2 process, that’s an expensive process, so I decided instead to go with the old standby Burlington Camera. Now I did shoot this film stock back in 2018 and had it processed C-41 and was blownRead More →

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When it comes to film, one of the main reasons it hangs on is thanks to the motion picture industry. And many of the films we love today are based on these cine-films. But when it comes to using these films designed for motion pictures in our still cameras, there is a bit of extra work to be done. Sure you can just load up a roll of Eastman Double-X and develop in regular B&W developers. But the colour film, the Vision3 line, is a whole other kettle of fish. First and foremost in everyone’s mind is the remjet layer, a special carbon-based backing thatRead More →

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When it comes to the specialised films out there, I’ll admit my knowledge is pretty grey. But there is also a particular challenge to making such a film work in general use photography. And having worked with various Eastman films from 5363, 2366, and 2238 I felt confident that I could make this Fuji film stock work. So what exactly is Fuji Recording Film Eterna-RDS Type 4791? According to Fuji’s website, Eterna-RDS 4791 is a black and white film intended for making archival black and white separations from colour digital masters for a digital separation workflow using a film recorder. The film is Fuji’s versionRead More →

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When it comes to Kodak’s film catalogue, there are many films in it that we have never seen much of in North America. Among those, the one that confused me the most was ProImage 100. Despite the name, Kodak documents in no way claim that ProImage 100 is a professional film, but then again what makes a professional film? Maybe because it does not come in sheet film format, like Ektar and Portra? That said, I feel ProImage 100 is a great film to shoot in a professional setting, the soft contrast, excellent colour rendition, and slow speed make it a fantastic hybrid of PortraRead More →

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If you think this Portra 800 is a new film, then you’d be wrong. There’s used to be a huge range of Portra films, but today there are only three films in the Portra range. Still, Portra 800 is overshadowed by Portra 160 and Portra 400. I mean, I had heard some talk about Portra 800, but always dismissed it as one of the older films and stuck with Portra 400 and pushing it to ASA-800 when I needed that extra boost. And I can honestly say I used to tell people to not bother with the film stock. But after shooting it, I’m gladRead More →