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When it comes to the name Velvia, most photographers will often latch onto the cult classic Fuji Velvia or its modern form, Velvia 50. But Fuji also released a one-stop faster version, Velvia 100 or 100F, which offers everything you like about Velvia 50 but in a slightly faster form. While I’ve shot plenty of slide films, Velvia 100 is one that I have far less experience with; again, I’m more likely to shoot Provia, Ektachrome, or Astia (RIP) when shooting a 100-Speed slide film. But Velvia 100 is an interesting animal and one that I’m not likely to shoot again. So I wasn’t tooRead More →

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When I first decided to review Rollei Low Contrast developer (RLC), I doubted my choice. The list of available films remained short and some I could not find to purchase for the review. And most of the films on the list were technical films, which don’t always suit my photography. But I went ahead anyway after coming up with a decent list and getting my hands on a roll of Kodak Technical Pan and seeing the results from my good friend John Meadows. RLC is a strong developer if you have a contrasty film, fine-grained, and super sharp because the developer will make sure youRead More →

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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’m a big fan of Eastman Double-X; it’s a beautiful mid-speed film that offers up amazing latitude and forgiveness along with a lovely grain structure. But for the longest time, it has only been available in 135 (35mm) format because, well, that is generally what cinematographers shoot motion pictures in. Still, it has great potential in medium format. There had been an attempt to have the film produced in 120 format but never went anywhere. At least until earlier this summer, when Cinestill put out the word, they had their BwXX in 120. BwXX is Cinestill’s Eastman Double-X branding and is the same stuff you’veRead 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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There are a couple of highly specialised and mysterious developers out there, both made by the same company. While most people are drawn towards Diafine (which I plan on reviewing next year), Acufine is the cousin of that magic bullet developer. Like Diafine, Acufine’s chemistry is a trade secret; even the datasheets are redacted in that sense. But Acufine is a rare bird; it has the capability to increase the speed of most film stocks. But without all the drawbacks of push processing, increased grain, over the top contrast. While I have worked with Acufine before the stuff was way out of date, and IRead More →

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Let me start this by saying that DD-X and I have not had the best of relationships. The first time I used it I wasn’t happy with my results and decided that I was never going to touch the stuff again. But hey, almost every filmstock and developer are worth a second glance. DD-X, like its Kodak cousin, TMax developer was initially designed for use with the Delta range of films, specifically Delta 3200. Ilford has two versions of this developer, Ilfotec DD which is designed mainly for automated film processors that will use a dedicated replenisher and used in the stock formulation. White DD-XRead More →

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You’re probably thinking if I reviewed Kodak HC-110, why am I reviewing Ilford Ilfotec HC? Aren’t they the same thing? Well, the answer is yes and no. While Ilfotec HC is the Ilford version of Kodak HC-110, there are some subtle differences between the two. Here in Canada, the Ilford liquid chemistry is a pricey purchase and can be hard to come by. However, I chanced across a short-dated bottle of Ilfotec HC on a trip to Burlington Camera and decided to take a chance. Now, if you know me and my processing habits, you’ll know that I make a bottle of HC-110 last, soRead More →