A few months ago, before the COVID-19 pandemic dug its claws fully into the United States, I finally decided it was time to open-up the box of CineStill C-41 chemistry that had been sitting on a shelf since December, and set about processing the pile of color negative film that had been accumulating up to now. I have to confess: I’d been dragging my feet, fearful of this moment — worried whether I’d end-up simply ruining some film and losing shots I’d worked so hard to capture. As it turns out, the worries were unnecessary.
Continue reading…Film
The 4×5 Journey Begins
It had been my intention to explore large format photography in 2020, but it all started happening faster than I expected. First, the perfect Graflex Pacemaker 45 Crown Graphic materialized out of nowhere. Then I started meeting people on Instagram who encouraged me to just jump-in. Next thing you know, I’m getting what I needed to do just that. Now I understand why people the people who shoot it are so passionate about it.
Continue reading…Film Comparisons Made Easy (Courtesy of The Darkroom)
The Darkroom is arguably one of the leading mail order labs in the country at the moment. Their team has been very proactive in engaging with the film community, eager to interact with photographers on social media, and working to meaningfully contribute to the community with information and education through their occasional blog posts. But the company recently launched a new project that I’ve found quite helpful: their Film Index.
Continue reading…Review: Bergger Pancro 400 Black and White Film (120)
Since getting back into film photography, I’ve been on a mission to try pretty much every filmstock out there. It was that mission which motivated me to order a few rolls of Bergger Pancro 400 from B&H Photo and Video in New York City a few months back and give it a try. I was suitably impressed.
Continue reading…An Unexpected Question: What Film Would I Recommend?
I was recently asked a question by someone new to film photography, a question I never expected, and have never been asked before: What film would I recommend — black and white, as well as color — for someone new to film photography? Well, for sure, it made me think.
Continue reading…Kodak Ektachrome E100 Reintroduction Finally Comes to 120 and 4×5
On the heels of an apparently successful rollout of the film in 135 format late in 2019, Kodak Alaris announced early in 2019 that they’d be bringing Ektachrome E100 back to 120 and large formats. The timing of the move was less certain, although it was understood to be “by the end of the year.” Well, the wait is very nearly over.
Continue reading…Diagnosing Light Edges on Images (Dark Edges on Negatives)
Since I’ve started developing my own film, I’m pleased to say I have yet to ruin any of the dozens of rolls of film I’ve processed at home — every single roll has resulted in usable negatives, with seemingly proper density. However, something has been dogging me, and I only recently discovered that it was my own fault: Images with light edges (on the positives), dark edges (on the negatives).
Continue reading…Review: CatLABS X FILM 80 Black and White Film (120)
One film I don’t hear that much about — which is a shame — is an interesting one from CatLABS, called X FILM 80. This traditional slow-speed film is supposedly modeled after Kodak’s iconic Panatomic-X black and white film, which has been discontinued for decades now. Many forum posts seem to effectively dismiss this film as an imposter — Shanghai GP3 in a different box — but it’s among my favorites at the moment.
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…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.
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