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Of all the Vision3 films, 250D is the one I have the most experience with, having shot a couple of rolls and processed them at home. The problem was that when I processed them before, I did them cross-processed in C-41 chemistry. And they looked a little on the green side, but they looked good. And then, when I returned to this film stock with proper ECN-2 (home) chemistry, I was blown away. Under dull conditions, a snowstorm and bright light 250D produced amazing clean images. And it certainly was a significant shift from what I got from last month’s review of Vision3 500T! FilmRead More →

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I’m not a rangefinder person, or shall I say I’m not a 35mm rangefinder person. But I will make an exception for a well-designed and made medium format kit. Meet the New Mamiya 6. While it was built during the age of premium medium format cameras and premium 35mm compacts, the New 6 is a camera that takes a lot from the historic camera that launched Mamiya as a company back in the 1940s. But takes things into the modern age with a light meter, electronics, interchangeable lenses and modern materials. This is a medium-format camera that I could see myself using if it didn’tRead More →

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While not as keenly felt when it was discontinued at its colour brother and faster cousin, FP-100b is the black & white instant film offering from Fuji that took a minimal role in my exploration of pack film. Rated at ASA-100 and with plenty of contrast to offer, FP-100b is a film that I honestly have no accurate remembrance of, having only shot three packs of the stuff in my entire time shooting the format. Although it carries the same cult following as the rest of Fuji’s FP lineup, I soon realised I missed the boat with this one. More keen on shooting colour instantRead 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 →

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I did not think I would enjoy working with these sorts of cameras. Sort of like how I felt about the RETO Ultra Wide & Slim, the LOMO APPARAT is a simple-use camera centred around an ultra-wide angle lens. But the APPARAT has some other tricks that the RUWS does not have; first, there’s a built-in flash, and second, this camera is far bigger than RUWS. Like all Lomography cameras, it’s centred around making photography fun, abandoning the traditional ideas of sharpness and accuracy. Shoot from the hip and see what happens. But you can quickly determine the different quirks. The APPARAT gives the photographer.Read More →

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If there is a single classic film emulsion that kept Polaroid Pack Film cameras going well after the demise of the original Polaroid company, that film is FP-100c. And while the film is no longer available today, it is the film stock that made me turn my head and start looking for Type-100 Polaroid cameras ever since receiving a ColorPack-II from the excellent Michael Raso and the Film Photography Project. FP-100c is the same film that continued the tradition of Polaroid Type-100 pack film that you shoot, then peel apart and shake it (like a Polaroid Picture) to help dry the chemistry. And to haveRead More →

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If you’re thinking, wait a minute, haven’t you reviewed Ektachrome? Then the answer is yes; I’ve reviewed the re-release of Ektachrome 100. But this is something a little different, while Eastman Ektachrome Color Reversal Film 5294 was discontinued and re-introduced as a motion picture reversal stock. Reviewing Atlanta Film Co’s Euphoric 100 is probably the strangest film I’ve reviewed because I’m not reviewing it as a reversal film. Instead, I’m reviewing it as a cross-processed film using the Eastman Color Negative Rev. 2 process through a proper motion picture film lab. This is inspired (as the name of the film is) by the TV SeriesRead More →

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This is not the first time I’ve worked with an Elan camera, and it certainly stuck in my head as an amazing camera. These are semi-pro cameras that continue the lineage of the original Canon EOS 650. And of late, I’ve found that the EOS system is an excellent addition to my tool kit. So after being offered up an Elan IIe, I couldn’t say no. And while this is an older model than the 7ne, it still fits nicely as a camera to add to the mix of helping out with reviews of film, lens, and developers. Camera Specifications Make: Canon Model: EOS ElanRead More →

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It seems that Fuji enjoyed cutting off film stocks that had become rather popular among photographers, and most are legendary and much-loved colour-negative film stocks. Recently we saw the end of the Fujifilm Pro 400H along with Superia 200 and Superia C200. But one of the earliest discontinuations I remember that caused ripples through the community is Fujifilm Superia Reala 100, or Reala (the older version of this film). I’ve only tried this film in 120 formats after being gifted several rolls from my good friend Andrew Hiltz and picked up a few more along the way. I always thought it was a 120 onlyRead More →

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When it comes to Kodak’s back catalogue of developers, it is extensive. Today it is small compared to the past, with most people going with D-76, HC-110 and XTol. But Kodak once produced a wide range of developers for almost every application. And there is one that provides fast, high-contrast, and low-fog negatives, and that is Kodak D-19. While the original creation and cancellation of D-19 are lost in history, today, you can mix it up yourself or purchase a premixed kit from Photographer’s Formulary. Of all the developers I’ve used and reviewed to date, D-19 is undoubtedly among the most exciting and unique, notRead More →