One of the great things about film photography is just how much information there is on the internet about various esoterica related to cameras, accessories, film development, and more. But it’s sometimes surprising just how much information is not actually available, and the Rolleinar close-up attachment system for Rolleiflex cameras is a prime example of that.
Continue reading…Review: Fomapan 100, 200 and 400 Black and White Films (120)
Let’s face it: Shooting film is not exactly the cheapest of all possible endeavors. And many of us are looking for ways to shave a few bucks off the cost of our favorite hobby. That’s originally what got me to try Foma Bohemia‘s three primary film stocks — all under the Fomapan name — but it’s not what’s kept me using them.
Continue reading…Color Filters in Black and White Photography: An Introduction and Examples
When I was first into film photography and shooting a lot of black and white (which was about 35 years ago), I never explored the use of color filters for image enhancement — in part because I didn’t know anything about it, in part because we weren’t taught anything about it in high school photography class, and finally in part because I couldn’t have afforded the filters anyway. With my renewed interest in film, and in shooting a ton of black and white, I’ve become interested in ways to achieve better, more interesting photos — especially in situations where things seem washed out, or when subjects fail to “pop” in the image. That’s where color (and other) filters come-in.
Both the blessing and the curse of black and white, I suppose, is that everything renders as shades of gray. It’s really not possible to tell the difference between red, green or blue — they all look the same, depending on the lightness of the color. Yellows, like the color of my MINI Cooper, appear basically white; you’d not even notice the white decal on the side unless you looked really hard at this image. (The car in color is in the inset for comparison; same car, same lower checkered side decal — big difference.)
Continue reading…Edge Fog: Oh, Those Smoky Rebates!
We’ve all read the admonitions on the film boxes, the data sheets, and the manuals for our medium format cameras (you did read that, right?): load and unload in subdued light. So you do. And then you get a roll of film back from the lab, or you start to unspool a wet strip from your Paterson tank, and there it is… The dreaded edge fog, smoky little mountains emerging from the very edges of the film and extending well into the rebate, or perhaps even into your image area. In my case, I mutter a few choice words, and start to wonder if it’s just me.
Continue reading…Film Exposure Latitude: A Practical Test
Film exposure latitude is a well-understood concept among film nerds. The problem is that there are really two closely related but different concepts involved in the discussion, and sometimes they’re mixed in a single breath.
Continue reading…Review: Mamiya C220 Twin Lens Reflex (TLR) Medium Format Film Camera
I recently acquired (yet) another medium format camera: a Mamiya C220 TLR. It was offered on eBay (a place I normally avoid like the plague), but the fact it was fully complete — including boxes, manuals, all body and lens caps, etc. — and in great condition made it sort of a no-brainer to take the risk. I’m glad I did, because what arrived was every bit as good (or better) than the eBay listing photos. Full-form reviews on this camera are virtually non-existent, so it also seemed like a no-brainer to take a deep dive and explore its allure in detail.
Continue reading…Accidental Cross-Processing: Outstanding (and Unexpected) Results
On a recent trip to New Jersey, I picked-up a Hasselblad 503CW. (Edited: I’ve since reviewed the camera; follow the link.) Because I didn’t have any film with me, the camera shop kindly threw-in a few rolls of 120 so I could immediately start shooting. Since they also let me choose what I wanted from their film fridge, I opted for three Kodak rolls: Portra 160, Portra 400, and Tri-X. It was a beautiful day, lots of sunlight, so the Portra 160 went into the magazine as my first-ever roll of film in the new Hassy. When I got home, I took it for processing as usual to Englewood Camera. But the results were nothing I was expecting.
Continue reading…Hasselblad Extension Tube Manual (10mm, 21mm, 55mm)
After searching high and low, I couldn’t find a digital manual for my new-to-me Hasseblad extension tubes. I was fortunate enough to get a printed version with the tubes, so I’m pleased to offer one to the Hasselblad community, along with some insights about the tubes that were not really clear in the beginning.
Continue reading…The Joy of Extension Tubes
Let’s say that 45 days ago you asked me the question, “What’s an extension tube, and what’s it used for?” I would have been forced to reply, “I have absolutely no idea.” Truth; but no longer. Let’s just say I know the answers to those questions — and I’m now an enthusiastic convert to something I wish I’d known about years ago.
Continue reading…Review: Pentax 645 Medium Format Film Camera
There are already multiple reviews, history lessons, opinions, and so forth regarding the Pentax 645 medium format film camera (my favorite being Todd Reed’s on Emulsive), and as I begin this piece, I’m not sure I’m necessarily going to be bringing deep, new insights to the table. But after shooting with this camera through over a dozen rolls of 120 film, I feel I’ve experienced its capabilities pretty well at this point, know some of its foibles, and have a basis to pull together some cogent thoughts. If you’re considering adding one of these cameras to your collection, read on.
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