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When it comes to slide film, Fuji Sensia introduced me to the medium, but it was Astia that made me love slide film. Sitting neatly in the worlds of Velvia 100 and Provia 100, Astia is often an overlooked member of the Fujichrome family, with more people going towards Velvia for rich saturated colours or Provia for a more natural tonality. But Astia was a happy medium between the two; you get a stronger contrast than Provia and more natural colours than Velvia. Astia quickly became my go-to slide film for trips and events where I wanted the magic of slide film with a bitRead More →

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While Fuji Velvia was not my first experience with slide film, it is certainly is the one that made me like slide film. First released in 1990, the film became an immediate threat to Kodachrome, especially Kodachrome 25. And unlike Kodachrome, Velvia used the standard E-6 process that could be done in any lab that covered the process. No need to send it to speciality labs, and you could have your slides back the same day from the right lab. The name itself comes from combining Velvet and Media to describe the smooth images produced by the stock. While the original version was discontinued inRead More →

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I always seem to want to come back for more. One of my first experiences with a Soviet camera was a Smena 8m, this was a gift from my good friend Michael Raso, and the camera was interesting, to say the least. There wasn’t anything bad with it; it was pretty unique and produced excellent images. It was hard to work with, too much to do, too fickle, and I wasn’t getting to know the camera well enough. So I passed it onto another photographer who went on to use the camera to produce awesome results. There wasn’t anything wrong with the 8m; I thinkRead More →

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When you read the datasheet for Adox Silvermax Developer, you almost can think that this is the secret cypher key to unlock the best possible results when using Adox Silvermax film as the developer is used to unlock a secret silver reserve in Silvermax films and use it to the best photographic potential. Now I’m no language expert, especially German, but I feel that something got lost in translation. (Checks translation), okay, dormant reserves. Either way, this developer is best used with Silvermax films, as it couples with the specialised sensitiser used in that film’s production. But don’t let that stop you as the developerRead More →

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I have known about Adox HR-50 for some time but have purposefully avoided including it in past years. Originally released in 2018, HR-50 was one of the new film emulsions to come out of Adox shortly after releasing CHS 100 II (reviewed last month). The reason being that HR-50 is a semi-closed imaging system and I never had good luck with those, as seen by my Adox CMS20 II review. I caught a lot of flack for that one. There is also the trouble with getting the stuff here in Canada. But when I saw that both the film and the dedicated developer, Adox HR-DEVRead More →

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The Hasselblad V-System, one that has achieved legendary status within the photographic community. I’m surprised that I actually own the original 500c, and while I don’t use it as much as I used to, it remains a popular tool in my kit. But what about going with something a little newer? The original 500c saw its initial release in 1957 and certainly has flaws, but as a system camera, it started something. While the 503cx isn’t the newest horse in the stable, it adds a pile of features that makes up a greatly improved camera system but allows the use of the older accessories. AndRead More →

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When a developer and a film stock are so intertwined or one was made for the other it makes you think of a closed image system. I have plenty of experience working with those, not surprisingly also from Adox, but also Kodak Techincal Pan comes to mind. While the film and the developer are specifically designed for each other, both can be used in other developers and on other films. However, don’t think of Adox HR-DEV as a one or two-trick pony as despite the name it is a wonderful developer that does more than just develop Adox HR-50. While the bottle only lists twoRead More →

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The year was 2012; I had been shooting film in a far more serious way for three years at that point. I learned of a speciality film store called Freestyle Photographic from an episode of the Film Photography Project. They had all sorts of weird films from Europe that I had never heard of nor seen at my local camera store (which at that time was either Henry’s or Burlington Camera). With companies like Efke and Adox, strange, exotic for my North American sensibilities. I purchased a pile of Efke and Adox CHS Art films, both in 35mm and 120, 50 and 100-speed offerings. WhileRead More →

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I remember it clearly, having walked into Henry’s store to get film for an upcoming PYPS weekend, Winter Weekend 2006 in Oshawa, Ontario. I don’t remember exactly why I pulled the roll of Sensia 400 off the rack; my jam in those days was colour negative films. But that was also the weekend that I had a digital camera for the first time, so maybe I started to branch out in my shooting. Sensia was the right speed I usually shot (400), and the name was close to Superia (at a glance), and my journey into slide film had begun. Eventually, I branched out andRead More →

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You’re probably wondering why I’m reviewing a Nikkormat EL when I’ve reviewed a Nikon FE. The reason is simple; the Nikkormat EL is the FE’s foundation, the original Nikon electronic semi-automatic camera. This means that to understand where the FE comes from, I needed to try out an EL. That was my first mistake; the second mistake was shooting a second roll through the Nikkormat EL. I don’t think this mistake is a bad thing. The camera worked perfectly in both rolls; the mistake was that now I want a Nikkormat EL. It’s an easy-to-use camera, especially if you’ve used an FE or FE2, andRead More →