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These days it seems that photography Kickstarter campaigns are a dime a dozen. But the company with the most number of wins under their belt is Lomography. Say what you will about them, they can deliver on their promises. Sometimes it might take a swift kick in the rear-end to get them moving, but they do move. Now I’ve shot a fair number of Lomography films, most are re-rolled and rebranded. Of course, they also encourage production of other film stocks, such as their Berlin and Potsdam films that are both rebrands of ORWO N74 and UN54 films. But they also produce some wild falseRead More →

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Back in the Summer of 2013 when APUG was the place to get your online fix of the analogue photography community, I noticed a post in the Toronto local board that there weren’t enough meetups for the film photography community. Which was at the time partly true, sure there had been a couple of FPP/APUG meetups in the area in the past, I had even helped coordinate one in 2011. But there had not been anything since. So I took it upon myself to plan these events, at least four, in a year. The first one dropped in July 2013, had a decent turnout andRead More →

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When you think of all the developers out there, D-76, D-23, HC-110, DK-50, Rodinal, these are all designed specifically for developing standard black & white films, but there is another developer that often flew under the radar mainly because it proved so industry-specific that the home photography wouldn’t even think of using the developer in their own processing. That developer is D-96, originally created by Kodak for use to develop black & white motion picture film. But the average photographer cannot get small quantities of D-96 but that’s where Cinestill stepped in releasing their own version of D96 along with the Film Photography Project. IRead More →

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Last month when I reviewed the classic 105mm f/2.5 Nikon lens I mentioned that I’m a big fan of the 105mm focal length. And while I could use the classic lens on my modern cameras, the smaller size looks funny on my larger autofocus cameras, namely the Nikon F4, F5, and D300. On my first trip to New York City and a visit to B&H Photo resulted in the purchase of this beauty. And immediately did a photoshoot in Central Park with a friend and her then partner. a new version of the classic lens that has more than a few tricks up its sleeve.Read More →

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Every so often a film stock will come up out of nowhere and surprise me, and today that film is FilmWashi “D”. Like all films that come out of FilmWashi, Washi D (as I’ll be calling it from now on) they take films out of their normal use and repurpose it for regular photographic duties. In the case of Washi D, it saw creation as a Russian surveillance film. The purpose of the film and what secrets it was designed to capture remains a mystery but because the film has the title ‘project: Sputnik’ on the label makes me think this film would be loadedRead More →

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It seems that Lomography is starting to branch out from their usual suppliers. After the release of their Kino line last year with Berlin and Potsdam, which are in fact rebranded (and in the case of the first run of Berlin, re-spooled) ORWO N74 and UN54 respectively it is no surprise that this year they released two new films in their Kino line. But these weren’t the usual fare that I’ve seen from Lomography, it seems they to have jumped on the Ultra-Low bandwagon and release two slow films. The first release, Fantomé is an ASA-8 film with lots of contrast and second is BabylonRead More →

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When it comes to Film Washi, I remained initially unsure of hopping onto the wagon of the world’s littlest film company. While some of their initial offerings were paper-based, they began to expand into traditionally based film stocks. Film Washi Type “S” or Washi S as I’ll be calling the film from now on, is not designed for pictorial use at all, even titles or special effects. Washi S is designed for optical recording of sound. Which as you may have already through will produce a high-contrast image. But I will say one thing I am impressed that I got good photos out of theRead More →

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When I first started with film development, my world consisted of Kodak products, D-76 and HC-110. The only other developer I used outside of Kodak was Rodinal and Ilfosol 3 (at least at first). Then in 2015, I started reviewing cameras and decided at the same time to explore Ilford more both in film stocks and developers. I stumbled upon two developers that soon became favourites, one of them is Perceptol (which I will review next month) the second is Microphen. While not a developer I use often, it offers fine grain, neutral contrast, and works for both push and pull processing. Technical Details Manufacturer:Read More →

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When it comes to 200-Speed films, I don’t have the best view, and usually end up with decent results (Rollei Superpan 200), other times I dislike them entirely. When it comes to Ilford’s offering, SFX 200, it goes in a slightly different direction. See, I have shot SFX a lot more than I initially thought, but it never stuck too much into my film supply mostly because if I need to shoot a 200-Speed film, I’m more likely to pull a 400-Speed film (Tri-X or Fomapan 400) or push a 100-Speed film (TMax 100). See, SFX is fun in the sense that it has anRead More →

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I’ll be the first to admit; I never was a fan of TMax Developer. It was, at least in my mind initially TMax developer was a one-trick pony. Suitable for only modern T-Grain films (TMax, Delta, Acros). But that quickly changed as I started to branch out and trying to see what the developer can do with both modern film grain and classic grain. I discovered that TMax developer is something a little more than a one-trick pony. Technical Details Manufacture: Kodak Name: TMax Developer Primary Developer: Hydroquinone Type: Reusable or One-Shot Mix From: Liquid Handling TMax developer is a liquid, it runs clear andRead More →