Geologists reject the Anthropocene as Earth’s new epoch — after 15 years of debate
But some are now challenging the vote, saying there were “procedural irregularities”.
https://www.nature.com/articles/d41586-024-00675-8
#anthropocene #holocene #geology #earth #CrawfordLake #stratigraphy #palaeonthology #geochemistry #ecology #plutonium #hydrogenbomb #sediments #microplastics #pesticides #nature #news
Ouvrir une nouvelle époque géologique, c’est laisser des traces visibles dans les sols pour des millions d’années. Mais, tout comme l’histoire humaine, celle de la Terre ne s’enregistre pas n’importe où. Plongée avec la géologue Francine McCarthy dans la mémoire géologique et politique du lac Crawford, dans l'Ontario. 🕳️
À LIRE ICI 👇
https://lstu.fr/anthropolac
#anthropocene #anthropoceneworkinggroup #crawfordlake #goldenspike #crawfordlakeconservationarea
A small lake in Canada is key to understanding the dawn of the Anthropocene epoch. Crawford Lake, located near Toronto, has preserved layers of sediment that record the history of human activity on Earth. By analyzing these layers, researchers had confirmed that the Anthropocene began in 1950s, when hydrogen bomb tests left a global trace of radioactive fallout. #Anthropocene #CrawfordLake #History https://www.sciencealert.com/a-lake-in-canada-defines-the-moment-we-changed-earth-forever?utm_source=flipboard&utm_content=HariTulsidas%2Fmagazine%2FArchetypes
The new epoch has to start somewhere, and the point at which we coated the entire planet with plutonium works as well as anything else.
#globalwarming #climatechange #climatecrisis #anthropocene #toronto #ontario #crawfordlake #science
The Tyee: On Crawford Lake and ‘Peak Humanity’ https://thetyee.ca/Analysis/2023/07/14/Crawford-Lake-Peak-Humanity/ #bcnews #TheTyee - via @tyee@mstdn.ca #anthropocenebeginning #TheAnthropoceneReview #FrancineMcCarthy #Sixthextinction #Anthropocene #CrawfordLake
This quiet lake could mark the start of a new Anthropocene epoch
The dawn of a new geological epoch is recorded in the contaminated sediment at the bottom of Crawford Lake in Canada.
The official marker for the start of a new Anthropocene epoch should be a small Canadian lake whose sediments capture chemical traces of the fallout from nuclear bombs and other forms of environmental degradation.
https://www.nature.com/articles/d41586-023-02234-z #CrawfordLake #Canada #anthropocene #environment
Scientists unveil the key site that shows we’re in a new #climate epoch
The holy grail for understanding the start of the #Anthropocene lies at the bottom of a #CrawfordLake in #Canada. https://www.vox.com/future-perfect/2023/7/11/23791629/anthropocene-climate-epoch-canada-lake-crawford #climatechange
"The #Anthropocene has now received firm anchoring in a very precise #stratigraphic definition …"
#CrawfordLake sediments in #Canada show human impact from 1950 onwards, from bomb tests' plutonium to fossil fuel burning:
https://theguardian.com/environment/2023/jul/11/nuclear-bomb-fallout-site-chosen-to-define-start-of-anthropocene via @guardian
Ein „Golden Spike“ für das Anthropozän. Referenzpunkt für das geologische "Zeitalters des Menschen" ausgewählt. #Anthropozaen #Erdgeschichte #GSSP #Stratigrafie #Referenzpunkt #CrawfordLake #Geologie
https://www.scinexx.de/news/geowissen/ein-golden-spike-fuer-das-anthropozaen/
All the news about Crawford Lake having been chosen as the global ground zero of the #Anthropocene brought back memories of that time 17 years ago when went there for a late winter hike.
#mosstodon #nature #crawfordlake #ontario #canada #photography
Why Crawford Lake in Canada may be the perfect “Golden Spike” to represent the proposed new geological epoch, the Anthropocene. This remarkable piece of journalism is gift-linked.
The tipping point in #ClimateChange is now being traced to the 1950s. More importantly, even though some of these changes are irreversible, we can drastically improve our planet survival if we curb #GlobalWarming, pollution and declines in #biodiversity
Gift article, paywall removed
"In just seven decades, the scientists say, humans have brought about greater changes than they did in more than seven millennia. Never in Earth’s history has the world changed this much, this fast. Never has a single species had the capacity to wreak so much damage — or the chance to prevent so much harm."
"No other water body is known to possess this particular combination of attributes, making #CrawfordLake a unique bellwether of global change"
Camera Review Blog No. 137 – Fujifilm GA645Zi Professional
When it comes to medium format cameras, there are two formats that I've always been drawn to, the iconic 6×6 square and the slightly smaller 6×4.5 or 645. I've run with a Pentax 645 and more recently the Mamiya m645. I have shot with other medium format cameras, 6×9, 6×7, and 6×8 and even larger exposure sizes. But I keep on coming back to 645; it's great for everyday shooting and gives you that larger image size than 35mm. But the cameras are often bulky unless you go with a folder. But what about the best of both worlds? Enter the Fujifilm GA645Zi, the third version of the GA645 series from Fuji and the zoom lens. While far from perfect, it was on the shortlist when I was looking at bringing a medium format camera to Europe in 2015. While not a small camera by any stretch, it is fairly compact for what it is and does. Thanks to James Lee for loaning the camera out for a review!
Camera Specifications
Make: Fujifilm
Model: GA645Z i
Type: Point-And-Shoot
Format: 120/220, 6×4.5
Lens: Fixed, Super-EBC Fujinon 1:4.5-6.9 f=55-90mm
Shutter: Electronic Inter-Lens Shutter, 1/700 - 2″ + Bulb
Meter: Centre-Weighted SPD, EV3 ~ EV19 @ ASA-100, ASA-25 - ASA-1600
Autofocus: Hybrid Active/Passive IR focusing, ∞ - 1.0m
Year of Manufacture: 1998
Background
Fujifilm's G-Series of cameras grew out of the growing tourist industry in Japan. While Fuji had never been a major part of the growing camera industry in post-war Japan, they produced an excellent line of cameras into the 1960s and 1970s, usually under the Fujica brand name. But many of these were 35mm, and the need for a larger negative for better quality images as needed. Banking on the larger negative size from 120/220 film, their first 6×7 rangefinder with interchangeable lenses, the GM670, was first released in 1968. Others quickly followed using various other negative sizes that you can get with medium format roll films, the iconic Texas Leica, or the 6×9 offering. These were excellent cameras because they offered a similar experience to the fixed and interchangeable 35mm rangefinders in a bigger format. But these cameras were also large and could be unwieldy, so in the 1980s, Fuji added a new negative size to their lineup, the GS645 series. As the name indicated, the camera shot in the 6×4.5 format allowing the photographer sixteen frames per roll of 120 (double with 220) but still provided a negative larger than 35mm. The initial offering of the GS645 came equipped with a 75mm f/3.5 lens and a built-in light meter and rangefinder focusing. The lens itself is mounted on a bellows to present a modern folding camera. While the camera did have a meter, it was not coupled but did allow the user to set the exposure manually. A second version, the GS645W, came with a wide-angle 45mm lens but lacked the rangefinder, so it was scale focus. A second version, the GS645W, returned the idea of a rangefinder but with a 60mm lens. In 1995 the GS645 series upgraded with the GA645 and GA645W; these were auto-exposure and auto-focus, which brought the camera series into the modern era. The GA645 featured a 60mm lens and the GA645W a 45mm lens and moved to a full rigid body without any folding parts. Fuji improved the camera's ergonomics, metering, and focusing systems releasing the GA645 i and GA645W i in 1997, which each featured the same lenses as before. But these both were fixed focal length cameras, so in 1998 Fuji released their first and only zoom lens model of the GA645 series, the GA645Z I which comes with a 55-90mm zoom lens with four different focus points, 55, 65, 75, and 90 and unlike the past offerings the GA645Z i came not in black but a beautiful metallic champaign colour. However, a black version was released in 1999.
Fujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Fujifilm Neopan Acros 100 @ ASA-100 - Ilford Ilfotec HC (1+47) 7:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Fujifilm Neopan Acros 100 @ ASA-100 - Ilford Ilfotec HC (1+47) 7:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Fujifilm Neopan Acros 100 @ ASA-100 - Ilford Ilfotec HC (1+47) 7:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Fujifilm Neopan Acros 100 @ ASA-100 - Ilford Ilfotec HC (1+47) 7:00 @ 20C
Impressions
If you're familiar with the Japanese camera industry of the 1990s, you'll quickly realise that the GA645Zi follows that same design aesthetic of the premium compact cameras coming from Kyocera under names like Yashica and Contax. And the GA645Zi certainly reminds me in many ways of the Contax G2. While these cameras were also available in black, personally, I prefer this champaign/metallic colouration. Despite being big, the camera itself fits well in hand; the added grip on the one side with the shutter release at an angle reminds me of the vertical grip on the VC-9 for the Maxxum 9. The mode dial doubles as your on/off switch, and there is a functional lock to prevent accidental power on or off and mode switch. The dial also acts as the means to set the ISO, not the best choice in my view, but it is on the opposite side of the off position from the modes. There is also a single command dial that allows you to help load the film and adjust settings; the dial does everything depending on the mode (adjusting exposure settings, manually focusing the camera, et al.). The weak point for the camera is the rear LCD screen; in the example I reviewed, several elements were starting to fade but eventually warmed up with use, but it did make the setting that initial ISO difficult, which may lead to mis-exposed frames. The zoom lens toggle is well placed but irregularly labelled, so you often don't know which way to toggle it to zoom in or out. The one nice touch is that the GA645Zi, despite being modern, uses a standard mechanical cable release. The viewfinder is bright with plenty of information, including exposure settings, frame lines, and a centre mark to help point out your focus point and metering point.
Fujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Fujifilm Neopan Acros 100 @ ASA-100 - Ilford Ilfotec HC (1+47) 7:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Fujifilm Neopan Acros 100 @ ASA-100 - Ilford Ilfotec HC (1+47) 7:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Fujifilm Neopan Acros 100 @ ASA-100 - Ilford Ilfotec HC (1+47) 7:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Fujifilm Neopan Acros 100 @ ASA-100 - Ilford Ilfotec HC (1+47) 7:00 @ 20C
Experiences
If you're looking for a fast camera, you've come to the wrong one. Despite everything, the GA645Zi is a slow camera in many aspects. Thankfully the loading film is not one of them. The spools are secured in place, and small red buttons will release the lower stands, allowing you to remove and install the new roll of the film easily. Pull the leader across, insert it into the take-up spool, then use the command dial to advance. You will want to apply slight pressure on the backing paper making sure not to pressure the shutter curtain. Settle your finger to the left of the take-up spool cavity with your left hand and use your right to give the command dial a couple of turns. This will ensure proper tension is applied before you close the film door preventing 'fat' rolls. You also do not have to advance it to an arrow point; once you have the film wound slightly onto the take-up spool, close the door, press the shutter release, and the camera automatically advances to the first frame. Like other 645 cameras of this type, the native orientation is a portrait, and the camera is most comfortable and optimized for being held in this position. Thankfully you can run it easily in landscape orientation without being too uncomfortable; make sure to have that shutter button at the top when being held for the best comfort. In the field, the biggest weakness in the camera is the autofocus system; using a hybrid active/passive IR system does tend to hunt for focus or miss-focus in some cases. Best to have that centre target on the subject first, then recompose. The viewfinder is bright, offering up an indicator for the camera's focus, a centre target point for both focusing and metering, as well as bright lines for assistance in composition. It also zooms in and out with the lens, making it easier to compose at the current focal length. You also will see the exposure settings for both aperture and shutter speed. I only ran the camera in full program mode, but it will give you a selection of your set aperture or shutter speed in the semi-automatic modes. There is also a certain lag for the camera to lock onto the focus when you half-press the release and another lag from full press to the camera taking the photo. The zoom is also fairly slow to extend or retract the lens. The one nice feature with the camera is that it will imprint all the image values on the negative rebate if you so choose, visual EXIF data! You can choose if you want this data recorded or not using the 'data' button on the back of the camera. Despite this, the camera is fairly easy to operate in the field, and what impressed me is that it takes a standard mechanical cable release.
Fujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Rollei RPX 400 @ ASA-400 - FA-1027 (1+14) 9:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Rollei RPX 400 @ ASA-400 - FA-1027 (1+14) 9:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Rollei RPX 400 @ ASA-400 - FA-1027 (1+14) 9:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Rollei RPX 400 @ ASA-400 - FA-1027 (1+14) 9:00 @ 20C
Optics
The functionality of the camera isn't the only slow aspect of the camera. The lens is equipped with a Super-EBC Fujinon lens; the optical quality is nothing to turn up one's nose towards. I've used plenty of Fujinon glass from their large format to 35mm offerings, and these are superb lenses with excellent optical construction and image quality. And for a medium format point-and-shoot, this is an excellent lens. With focal lengths between 55mm and 90mm, it gives you a basic 'kit' style zoom lens for the camera, and it has the aperture range to match; at 55mm, the maximum aperture is f/4.5, but once you hit 90mm, you're at f/6.9. Not exactly what you find in an average kit lens for the 35mm format. However, don't let that stop you from using the camera; despite the slow lens, the optical quality is excellent, with sharp images at any aperture with a wonderful rendering of the out-of-focus elements. There's no fall-off at wide-open apertures, and the lens does not flare when faced with indirect light. The coating renders both colour and b&w films well with good contrast.
Fujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Cinestill BwXX @ ASA-250 - Adox Rodinal (1+50) 9:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Cinestill BwXX @ ASA-250 - Adox Rodinal (1+50) 9:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Cinestill BwXX @ ASA-250 - Adox Rodinal (1+50) 9:00 @ 20CFujifilm GA645Zi - Super-EBC Fujinon Zoom Lens 1:4.5-6.9 f=55-90mm - Cinestill BwXX @ ASA-250 - Adox Rodinal (1+50) 9:00 @ 20C
Lowdown
While this is far from a perfect camera, the GA645Zi is a solid performing camera. A good option if you want that big 645 negatives and have space constraints. The GA645Zi will give you all of this in a compact camera, and the zoom lens will allow you to have a basic 'kit lens' setup without needing to juggle separate lenses and no need to include an external meter. The camera does take CR123A batteries, so if you are taking it out into the backwoods, take a couple of spares. But these cameras are far from cheap; you're going to be paying between 1,700 to 2,300 on the used market. And it would be best to buy one from a Japanese seller where these cameras were mainly sold. Also, make sure that the camera is functional, as they are difficult if not impossible to repair. I'll admit, I like the GA645Zi, but not enough to drop that much money, so I'll stick to my Mamiya m645.
Further Reading
Don't just take my word on the GA645Z i , you can check out the reviews by other awesome camera reviewers!
Emulsive - Fujifilm GA645Zi Review
Photo Jottings - Fuji GA645Zi 55mm-90mm Review
Shoot It With Film - A Comprehensive Review of the Fuji GA645
FilmPhotography.Blog - First thoughts on the Fujifilm GA645Zi
theWSreviews.com - Fujifilm GA645Zi
Dante Stella - Fuji GA645 family of autofocus 6×4.5 cameras
Nick Carver - Fuji GA645Zi Archives
#camerareviewblogs #adoxrodinal #camera #camerareview #canada #cinestillbwxx #crawfordlake #fa1027 #fujifilmga645ziprofessional #fujifilmneopanacros100 #ga645zi #gear #ilfordilfotechc #milton #ontario #review #rolleirpx400
Classic Camera Revival – Episode 112 – Hot Adox Summer
It's been a long hot summer, and Alex sits down for a rare CCR Solo show to talk about his experiences with Adox. If you haven't heard of Adox, then prepare to have your introduction made to the oldest name in film photography chemistry and supplies! While the original 1860s Adox is long gone their name and experience live on with the modern form of the company started by Fotoimpex as a way to preserve not only the intellectual properties of Adox but also Agfa!
Nikon FE - AI-S Nikkor 50mm 1:1.4 - Adox Silvermax @ ASA-100 - Adox Silvermax Developer (1+29) 11:00 @ 20C
Mamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Rollei Superpan 200 @ ASA-160 - Adox Silvermax Developer (1+29) 15:30 @ 20COlympus OM-2n - Olympus G.Zuiko Auto-W 1:2.8 f=35mm (Yellow-12) - Adox HR-50 @ ASA-50 - Adox HR-DEV (1+49) 11:00 @ 22CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fomapan 200 @ ASA-125 - Adox HR-DEV (1+35) 12:00 @ 20CMamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford FP4+ @ ASA-125 - Adox FX-39 II (1+9) 6:00 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Adox Silvermax @ ASA-100 - Adox FX-39 II (1+9) 8:00 @ 20CNikon F5 - AF-S Nikkor 28-70mm 1:2.8D - Adox CHS 100 II @ ASA-100 - Adox FX-39 II (1+9) 7:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 (Yellow-12) - Efke KB100 @ ASA-100 - Adox Atomal 49 (Stock) 8:00 @ 20C
You can order Adox products and other film photography projects through Fotoimpex. Also, make sure to follow them on Facebook and Instagram for the latest!
Web: www.fotoimpex.com
Instagram: instagram.com/adoxphoto
Facebook: facebook.com/ADOXPHOTO
Want a subscription to SilverGrain Classics and are a fan of Classic Camera Revival? Visit their shop online and buy a magazine or a subscription? Looking for a good spot to get your gear and material fix check out Burlington Camera (Burlington, ON), Downtown Camera (Toronto, ON), Film Plus (Toronto, ON), Belle Arte Camera (Hamilton, ON), Pond's FotoSource (Guleph, ON), Foto Art Camera (Owen Sound, ON). Out West there's Kerrisdale Cameras (BC), The Camera Store (Calgary, AB) and Beau Photo Supply (Vancouver, BC). Additionally you can order online at Argentix (Quebec), buyfilm.ca (Ontario), the Film Photography Project or Freestyle Photographic. Looking for development options, check out these labs that have our support, Boréalis Photo Lab, Old School Photo Lab, The Darkroom, and Film Rescue International.
Also you can connect with us through email: classiccamerarevivial[at]gmail[dot]com or by Facebook, we're at Classic Camera Revival, Twitter @ccamerarevival, and Instagram (@classiccamerarevival)!
#classiccamerarevival #adox #adoxatomol49 #adoxchs100ii #adoxfx39ii #adoxhr50 #adoxhrdev #adoxsilvermax #adoxsilvermaxdeveloper #canada #ccr #crawfordlake #efkekb100 #fomapan200 #fotoimpex #hiltonfalls #ilfordfp4 #mamiyam645 #milton #minoltamaxxum9 #nikonf5 #nikonfe #olympusom2n #ontario #paris #podcast #rolleisuperpan200 #rolleiflex28f #solo #toronto #welland
Developer Review Blog No. 19 – Adox HR-DEV
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 two films, the massive dev chart lists thirty-seven. Of the two listed (HR-50 and Silvermax) I will only be including the roll of HR-50 for this review. I did use a roll of Silvermax with HR-DEV, which you can find in that review. And you will get to read the review of Adox HR-50 next month. But don't kid yourself that this is an economical developer, it isn't, by a long shot. You can only get the developer in a 100mL bottle and the dilutions are the strangest I've seen since Adox Silvermax and Kodak HC-110. But with the cost of the stuff combined with wanting to finally review Adox HR-50, I had to run a review on the developer as well to get at least two posts out of a single bottle without having to buy another whole batch of HR-50 as both are a fairly special product.
Technical Details
Manufacturer: Adox
Name: HR-DEV
Primary Developer: Hydroquinone
Type: One-Shot
Mix From: Liquid
Olympus OM-2n - Olympus G.Zuiko Auto-W 1:2.8 f=35mm (Yellow-12) - Adox HR-50 @ ASA-50 - Adox HR-DEV (1+49) 11:00 @ 22COlympus OM-2n - Olympus G.Zuiko Auto-W 1:2.8 f=35mm (Yellow-12) - Adox HR-50 @ ASA-50 - Adox HR-DEV (1+49) 11:00 @ 22COlympus OM-2n - Olympus G.Zuiko Auto-W 1:2.8 f=35mm (Yellow-12) - Adox HR-50 @ ASA-50 - Adox HR-DEV (1+49) 11:00 @ 22COlympus OM-2n - Olympus G.Zuiko Auto-W 1:2.8 f=35mm (Yellow-12) - Adox HR-50 @ ASA-50 - Adox HR-DEV (1+49) 11:00 @ 22C
Handling
Sadly the only bottle size to get of HR-DEV is 100mL and that was just enough to process the five rolls of film I shot for this review. If you're just using the developer for Adox HR-50 film you have enough in one bottle to process at least 20 rolls of film. That is assuming that you mix up 500mL each cycle and process two rolls of film per tank. As I developed several different films at different dilutions I was not able to maximize the bottle. Handling the developer is easy, it pours well and the bottle seals nicely without a gasket. The tiny hole allows you to squeeze the concentrate out in a controlled manner, I never over measured the concentrate. The dilutions are pretty weird, even by my standards, and that's with using HC-110! You also have to note that you should not use standard agitation with the developing cycle, the bottle calls for an initial agitation of thirty seconds and then one agitation every following minute. That also changes from film to film. Check the notes on the Massive Dev chart to see what is recommended and stick with that method. Usually, when it says 1 agitation, I gave two very gentle agitations and got excellent results. Surprisingly HR-DEV has a decent shelf life, thanks to the addition of glycol, with over a year for an unopened bottle. Once you open the bottle, the shelf life does decrease, starting at about six months and lessens as you use the concentrate. I managed to use up the bottle in about a month just to be safe.
Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fomapan 200 @ ASA-125 - Adox HR-DEV (1+35) 12:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fomapan 200 @ ASA-125 - Adox HR-DEV (1+35) 12:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fomapan 200 @ ASA-125 - Adox HR-DEV (1+35) 12:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fomapan 200 @ ASA-125 - Adox HR-DEV (1+35) 12:00 @ 20C
Applications
The number one film that will perform the best with Adox HR-DEV is the paired HR-50 film, and the two go together like peanut butter and honey. But don't just limit yourself, although a bottle of 100mL is truly tailored for a large number of HR-50 rolls. Honestly, if you want some of the best results out of your slower films, then HR-DEV will not let you down. I got excellent results from Ilford FP4+, Fomapan 200 (which surprised me), Fuji Acros 100, and Adox Silvermax. If you're looking for no bump in contrast and amazing edge sharpness then HR-DEV will deliver. The downside is that there is a limited number of films that you can process with HR-DEV. As I mentioned in the introduction, only thirty-seven films, not bad, but this isn't your average Adox FX-39 developer. It also doesn't matter the style of grain (traditional or modern) it seems to handle both well. The single question you should ask before picking up that bottle is the inherent grain of the film, is it a fine-grained film naturally?
Mamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Fomapan 400 @ ASA-200 - Adox HR-DEV (1+30) 15:00 @ 20CMamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Fomapan 400 @ ASA-200 - Adox HR-DEV (1+30) 15:00 @ 20CMamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Fomapan 400 @ ASA-200 - Adox HR-DEV (1+30) 15:00 @ 20CMamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Fomapan 400 @ ASA-200 - Adox HR-DEV (1+30) 15:00 @ 20C
Qualities
If there is one thing that this developer will deliver is sharpness. Every film I ran through the developer ended up being incredibly sharp. But as we in the film photography world know, there is always a payoff. When it comes to HR-DEV that is you will not get any reduction in the presence of grain. So if you're not scared of grain, then you'll be good with whatever film you run through the developer. Thankfully I used mainly naturally fine-grained films, and even in the case of Fomapan 200, I ended up with decently sharp images without too much added in the way of visible grain. I was not as lucky with Fomapan 400, even with a one-stop pull and shooting on 120, there is a lot of visible grain in the images. HR-DEV has nearly no effect on the film's contrast, so a low contrast film remains low and vice-versa. Another interesting thing is that HR-DEV is all over the place with film speeds, I only had two films where I shot them at box speed (HR-50 and Acros 100). In two cases, both of them with Foma film, it was a pull. And with FP4+ a push. Strange indeed, but in all cases, the images turned out and I was pleased with the results.
Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fujifilm Neopan Acros 100 @ ASA-100 - Adox HR-DEV (1+35) 11:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fujifilm Neopan Acros 100 @ ASA-100 - Adox HR-DEV (1+35) 11:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fujifilm Neopan Acros 100 @ ASA-100 - Adox HR-DEV (1+35) 11:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fujifilm Neopan Acros 100 @ ASA-100 - Adox HR-DEV (1+35) 11:00 @ 20C
Lowdown
To be honest with all of you, I wasn't exactly planning on doing a review on Adox HR-DEV, I saw it as a one-trick pony. Similar to what I found with Rollei RPX-D, yet I'm honestly glad I got my hands on the stuff because HR-DEV is a surprising developer. And it takes a lot for a developer to surprise me these days. Now I also put the stuff through the wringer. And I purposefully picked a couple of film stocks that I have not had the best results with in the past, namely Fomapan 200 and a film stock that isn't exactly well-liked. As a speciality developer don't expect it at every camera store you frequent, you do need to pick it up from specialised stores like Argentix, Freestyle, or B&H. There's also Fotoimpex, which is Adox's retail storefront. And supply lines are tight right now, I was surprised to find HR-DEV and HR-50 in stock in Canada when I purchased it there was a lack of Adox films and chemistry on this side of the pond. But my final say, if you have a need for the sharpest negatives, or a mess of HR-50 to process, HR-DEV will not let you down.
Mamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford FP4+ @ ASA-200 - Adox HR-DEV (1+35) 9:00 @ 20CMamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford FP4+ @ ASA-200 - Adox HR-DEV (1+35) 9:00 @ 20CMamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford FP4+ @ ASA-200 - Adox HR-DEV (1+35) 9:00 @ 20CMamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford FP4+ @ ASA-200 - Adox HR-DEV (1+35) 9:00 @ 20C
Recommended Reading
Don't just take my word on HR-DEV check out these other blogs on the subject!
Down the Road - Shooting Adox HR-50
#developerreviewblogs #adox #adoxhrdev #bw #believeinfilm #blackwhite #burlington #canada #chemistry #crawfordlake #developer #filmdeveloper #filminotdead #filmisalive #fomapan200 #fomapan400 #fujifilmneopanacros100 #hrdev #ilfordfp4 #mamiyam645 #milton #olympusom2n #ontario #portcolborne #portdalhousie #rolleiflex28f #stcatharines #welland
