Lmst

Film News: A New Color Film From CineStill!

Coming straight off the news that CineStill released their DynamicChrome kit, Cinestill have decided to shock us with an entirely new film! Yes, that is right, a new color film from CineStill. Which is really fantastic news as there is a shortage of options in the color film market at the minute.

A New 400 Speed Color Film For Everyday Photography.

CineStill is announcing the introduction of 400Dynamic, a 400 ISO daylight-balanced color film available to photographers for the first time ever. 400D will initially be made available in both 35mm and 120 medium format in limited supply —with plans for large scale production and 4×5 large format through the success of the CINESTILL FILM MAKER Crowdfunding Campaign.

The analog photography market is in a renaissance, thriving and growing in recent years. With this renewed interest in all things analog, CineStill is determined to bring innovation and accessibility to a community that demands it. The film community is invited into the process of creating this new film by becoming a CINESTILL FILM MAKER.

CineStill 400D is a fine grain film that delivers a soft color palette with natural saturated color and rich, warm skin tones. The film has a wide dynamic range, with a base sensitivity of ISO 400 but can be rated from 200 to 800, and it can be pushed up to 3200. This makes the film highly versatile, suitable for any lighting condition, any event, and can be used either outdoors or in the studio.

Maximize

400Dynamic is the culmination of CineStill working exclusively with our manufacturing partners around the world to utilize the same advanced emulsion technology that is found inMotion Picture film. 400D was specifically designed for still photography, to be processed inC-41 chemistry by any photo lab or at home. In addition, it also features a process-surviving anti-static lubricant coating that will make it an ideal film for both manual SLRs and automatic winding cameras.

This new film will continue CineStill’s ongoing tradition of motion picture film emulsions made for still photographers, so that they can maximize their creativity and produce remarkable images that express who they are as a photographer.Continuing in the precedent set by the successful crowdfunding campaign that led to our flagship film CineStill 800T being made available in medium format, CineStill is inviting the film community to be part of the process of making 400D available to photographers around the world by becoming a CINESTILL FILM MAKER. During the last few years, there’s been a significant gap in the market for an ISO 400 speed color film. Past discontinuations and supply chain issues have caused a limited availability in the industry, which left photographers without the options that they would normally have.

Campaign

We are launching a crowdfunding campaign today which seeks to not only gauge the interest of a new ISO 400 speed color film in the market, but to also inform our manufacturing plans, so we can continue to meet the demand of the analog community for years to come. The more participation we see in the FILM MAKER Crowdfunding Campaign, the more we will know how to strategically invest our efforts to serve the community. By becoming a CINESTILL FILM MAKER, backers will be pre-ordering this new film, with the ability to receive additional rewards and discounts, as well as be among the first in the world to receive film from the first batch of 400D in both 35mm and 120 that will be shipped immediately after the culmination of the campaign.

CineStill

Since 2012, CineStill has been delivering advanced cinema film technology to still photographers and has established itself as a trusted name for film photographers around the world. Cine Still has brought to market multiple photo processing and analog photography workflow solutions with the goal of making film photography more accessible and demystifying the analog photography process.

We continue to work hand-in-hand with current film photography companies to further the production of analog materials. 400Dynamic elevates the family of CineStill film stocks that includes 800Tungsten, 50Daylight, and BwXX to complete any photographers toolkit. Its flexibility and versatility is great for both amateur and professional photographers that are in need of a do-it-all film.

A new ISO 400 color film has been highly sought after by the analog community, and CineStill is proud to be able to bring together a new film that can meet the demand of a community that has given CineStill Film continued support since the beginning.CineStill 400D in 35mm and 120 medium format will initially be only available through the CINESTILL FILM MAKER Campaign at cinestillfilm.com/400D

Sample Images

Anna Gibbs

Zac Farro

Stephen Vanasco

Ryan Muirhead

Lena Aires

This is fantastic news, I am glad to hear that CineStill is making important steps towards building a solid foundation for the film photography community. It is important that as smaller manufacturers we all work together to ensure a solid future for film photography. Please all go and support this project, it is sure to be a great product.

JCH

The post Film News: A New Color Film From CineStill! appeared first on Japan Camera Hunter.

#filmnews #buyfilm #cinestill #cinestill120 #cinestill800 #cinestillbwxx #cinestillc41 #cinestillcolorfilm #cinestillcolourfilm #cinestillfilmnews #cinestillnews #newfilm #newscolorfilm #shootfilm

Red-scale photography with Cinestill Redrum

Since its announcement last Autumn, I've been wanting to try out some red-scale photography with Cinestill Redrum. Written in the new stock's literature was "All work and no play makes a dull photo" and that can not be truer during these times. With the virus of unknown origins and now rumblings of world war disrupting the world supply chain, it took some time to get my grubby little hands on a roll to give it a go.

What is Redrum?

Red-scale photography is achieved by reverse-rolling for exposing through the base of the film, rather than directly to the emulsion. Everybody knows now that Cinestill 800T is a unique-looking film with its anti-halation layer removed and shot normally, but now it is “flipped” to make it redscale. Produced using CineStill’s 800T emulsion, Redrum is uniquely appropriate for red-scale photography because there is no anti-halation layer to disrupt the light, resulting in higher speed (ISO 200), better sharpness and color.

The shinier emulsion side is on the back

Features

Color negative film
Red scale film - monochromatic red, yellowish hues
120 medium format
ISO 200
Safe for C-41 photo lab processing
Factory spooled

I've always appreciated labels that have notes for pushing

" Enter room 237 to produce dramatic red, yellow, and orange toned images." Cinestill says the images made with the film have a monochromatic red and yellowish tint that the company says makes for “spooky” imagery.

Cinestill Redrum Sample Images

The following images were taken on a Rolleiflex SL66, self-developed in Cinestill CS41 and scanned on a Canoscan 9000f.

The results reveal monochromatic reds, oranges, and even blindingly bright yellows. It makes it feel as if you took photos on Arrakis or something. Obviously applications for this film are limited but I think it's fun and would love to try some more at different speeds and lighting.

Cinestill said to get this limited edition film while you can because you won’t be able to shoot it forever and it is true.Unfortunately, there are all sold out on Cinestill's website, but random retailers might still have some available. In Japan, it is only available through Kawauso.

Should Cinestill make more of this? Would love to hear others' experience with it and other red-scale films, feel free to comment below.

MN

The post Red-scale photography with Cinestill Redrum appeared first on Japan Camera Hunter.

#reviews #buyfilm #cinestill #filmreview #newmediumformatfilm #not120mm #redscalephotography #redrum #shootfilm

Red-scale photography with Cinestill Redrum

Since its announcement last Autumn, I've been wanting to try out some red-scale photography with Cinestill Redrum. Written in the new stock's literature was "All work and no play makes a dull photo" and that can not be truer during these times. With the virus of unknown origins and now rumblings of world war disrupting the world supply chain, it took some time to get my grubby little hands on a roll to give it a go.

What is Redrum?

Red-scale photography is achieved by reverse-rolling for exposing through the base of the film, rather than directly to the emulsion. Everybody knows now that Cinestill 800T is a unique-looking film with its anti-halation layer removed and shot normally, but now it is “flipped” to make it redscale. Produced using CineStill’s 800T emulsion, Redrum is uniquely appropriate for red-scale photography because there is no anti-halation layer to disrupt the light, resulting in higher speed (ISO 200), better sharpness and color.

The shinier emulsion side is on the back

Features

Color negative film
Red scale film - monochromatic red, yellowish hues
120 medium format
ISO 200
Safe for C-41 photo lab processing
Factory spooled

I've always appreciated labels that have notes for pushing

" Enter room 237 to produce dramatic red, yellow, and orange toned images." Cinestill says the images made with the film have a monochromatic red and yellowish tint that the company says makes for “spooky” imagery.

Cinestill Redrum Sample Images

The following images were taken on a Rolleiflex SL66, self-developed in Cinestill CS41 and scanned on a Canoscan 9000f.

The results reveal monochromatic reds, oranges, and even blindingly bright yellows. It makes it feel as if you took photos on Arrakis or something. Obviously applications for this film are limited but I think it's fun and would love to try some more at different speeds and lighting.

Cinestill said to get this limited edition film while you can because you won’t be able to shoot it forever and it is true.Unfortunately, there are all sold out on Cinestill's website, but random retailers might still have some available. In Japan, it is only available through Kawauso.

Should Cinestill make more of this? Would love to hear others' experience with it and other red-scale films, feel free to comment below.

MN

The post Red-scale photography with Cinestill Redrum appeared first on Japan Camera Hunter.

#reviews #buyfilm #cinestill #filmreview #newmediumformatfilm #not120mm #redscalephotography #redrum #shootfilm

Film News: A New Color Film From CineStill!

Coming straight off the news that CineStill released their DynamicChrome kit, Cinestill have decided to shock us with an entirely new film! Yes, that is right, a new color film from CineStill. Which is really fantastic news as there is a shortage of options in the color film market at the minute.

A New 400 Speed Color Film For Everyday Photography.

CineStill is announcing the introduction of 400Dynamic, a 400 ISO daylight-balanced color film available to photographers for the first time ever. 400D will initially be made available in both 35mm and 120 medium format in limited supply —with plans for large scale production and 4×5 large format through the success of the CINESTILL FILM MAKER Crowdfunding Campaign.

The analog photography market is in a renaissance, thriving and growing in recent years. With this renewed interest in all things analog, CineStill is determined to bring innovation and accessibility to a community that demands it. The film community is invited into the process of creating this new film by becoming a CINESTILL FILM MAKER.

CineStill 400D is a fine grain film that delivers a soft color palette with natural saturated color and rich, warm skin tones. The film has a wide dynamic range, with a base sensitivity of ISO 400 but can be rated from 200 to 800, and it can be pushed up to 3200. This makes the film highly versatile, suitable for any lighting condition, any event, and can be used either outdoors or in the studio.

Maximize

400Dynamic is the culmination of CineStill working exclusively with our manufacturing partners around the world to utilize the same advanced emulsion technology that is found inMotion Picture film. 400D was specifically designed for still photography, to be processed inC-41 chemistry by any photo lab or at home. In addition, it also features a process-surviving anti-static lubricant coating that will make it an ideal film for both manual SLRs and automatic winding cameras.

This new film will continue CineStill’s ongoing tradition of motion picture film emulsions made for still photographers, so that they can maximize their creativity and produce remarkable images that express who they are as a photographer.Continuing in the precedent set by the successful crowdfunding campaign that led to our flagship film CineStill 800T being made available in medium format, CineStill is inviting the film community to be part of the process of making 400D available to photographers around the world by becoming a CINESTILL FILM MAKER. During the last few years, there’s been a significant gap in the market for an ISO 400 speed color film. Past discontinuations and supply chain issues have caused a limited availability in the industry, which left photographers without the options that they would normally have.

Campaign

We are launching a crowdfunding campaign today which seeks to not only gauge the interest of a new ISO 400 speed color film in the market, but to also inform our manufacturing plans, so we can continue to meet the demand of the analog community for years to come. The more participation we see in the FILM MAKER Crowdfunding Campaign, the more we will know how to strategically invest our efforts to serve the community. By becoming a CINESTILL FILM MAKER, backers will be pre-ordering this new film, with the ability to receive additional rewards and discounts, as well as be among the first in the world to receive film from the first batch of 400D in both 35mm and 120 that will be shipped immediately after the culmination of the campaign.

CineStill

Since 2012, CineStill has been delivering advanced cinema film technology to still photographers and has established itself as a trusted name for film photographers around the world. Cine Still has brought to market multiple photo processing and analog photography workflow solutions with the goal of making film photography more accessible and demystifying the analog photography process.

We continue to work hand-in-hand with current film photography companies to further the production of analog materials. 400Dynamic elevates the family of CineStill film stocks that includes 800Tungsten, 50Daylight, and BwXX to complete any photographers toolkit. Its flexibility and versatility is great for both amateur and professional photographers that are in need of a do-it-all film.

A new ISO 400 color film has been highly sought after by the analog community, and CineStill is proud to be able to bring together a new film that can meet the demand of a community that has given CineStill Film continued support since the beginning.CineStill 400D in 35mm and 120 medium format will initially be only available through the CINESTILL FILM MAKER Campaign at cinestillfilm.com/400D

Sample Images

Anna Gibbs

Zac Farro

Stephen Vanasco

Ryan Muirhead

Lena Aires

This is fantastic news, I am glad to hear that CineStill is making important steps towards building a solid foundation for the film photography community. It is important that as smaller manufacturers we all work together to ensure a solid future for film photography. Please all go and support this project, it is sure to be a great product.

JCH

The post Film News: A New Color Film From CineStill! appeared first on Japan Camera Hunter.

#filmnews #buyfilm #cinestill #cinestill120 #cinestill800 #cinestillbwxx #cinestillc41 #cinestillcolorfilm #cinestillcolourfilm #cinestillfilmnews #cinestillnews #newfilm #newscolorfilm #shootfilm

FOMAPAN 100 CLASSIC 35MM

by Jesse Hayes

As film prices rise, it sends many photographers in search of budget options. I’m one of them. If I can buy a roll of film for five bucks, I’ll try it at least once. There’s become a higher demand for film as many of our favorite stocks go out of production. I used to find deals buying expired film, but not so much today. Finding a five-dollar roll of film doesn’t happen often. I’m happy to say there are film stocks out there that are good for your camera as well as your wallet.

This is where Foma comes to mind and specifically their Fomapan 100 Classic. This a fine grain, 100 speed, panchromatically sensitized, black-and-white negative film. I say fine grain with a caveat. It’s a tad grainier than your average 100 speed film but not so much that it is distracting. The amount of grain will depend on lighting and your developer. Hailing from the Czech Republic, Foma are not the new kid on the block. They have been around since 1921 and have been producing rolled film since 1933. I started using Fomapan 100 in 2019 and it has slowly become one of the favorite films.

Cary - Leica M2 – 50mm Summicron Rigid – Fomapan 100 – Rodinal

In 2019, I was shooting in Paris and running low on Kodak T-max 100. It was my primary film at the time (still love it). So, I popped into a local lab, Négatif+ film lab in the 10th arrondissement. I must have made a face to the girl behind the counter, because right after she told me the price of T-max she asked me if I’d ever shot Fomapan 100. I said “Non” and grabbed six rolls. It was ¤4 a roll. I thought, what did I have to lose? Since most of my money was going towards a flat, I was renting, I was happy to save some money on film. While still abroad I dropped off some rolls at the same lab. I immediately liked the results. It was contrasty with good detail. It felt like T-max 100 with a more grain and a bit less sterile vibe.

Hallie - Konica Hexar RF – 50mm Summicron Rigid – Fomapan 100 – Rodinal

I tend not jump around with film stocks. If I find something I like, I stick with it. I need consistency in my results. The more I shoot a specific stock, the more I know how it will perform in different situations. For that same reason I stay with the same camera/lens setup. I try to mix it up, but for the bulk of my work, I use a Leica M body, 35mm or 50mm Summicron. Most times with a roll of Fomapan 100 in it.

IN PRACTICE

Yusuke - Leica M2 – 35mm Summicron V3 – Fomapan 100 – Rodinal

Dave - Leica M2 – 90mm Elmarit – Fomapan 100 – Rodinal

I shoot Fomapan 100 at box speed with mixture of street and portraits. I use it in all lighting conditions; low light, bright light, inside, outside, and on cloudy days. Performing well in all these settings for me. Fomapan 100 is a high contrast film. It’s something I’ve grown to love about this film. I’ve read of photographers having problems in low light situations, but I haven’t had any issues. I love to shoot it in

low light. Something I have noticed is a tendency to crush blacks. Fomapan does have a classic grainy look to it, but not so much it distracts from the image at hand. It can be unforgiving when underexposed, creating an unappealing grain. Shooting 100 speed film for me is extremely versatile. It allows me to open the lens a little more when a faster film wouldn’t. A big advantage when shooting portraits.

Paris - Leica M2 – 35mm Summicron – Fomapan 100 – Rodinal

Paris - Leica M2 – 35mm Summicron V3 – Fomapan 100 – Rodinal

BUDGET FRIENDLY

A big reason I use Fomapan 100 is the price. I’m not shy about it. Checking a popular online retailer, they currently have 35mm 36 exposure rolls of Fomapan 100 at 3⁄4 the price of T-max 100. If you want to

really save money you do what I do and bulk roll your own film. That same online retailer has Fomapan 100 in a 35mm 100ft roll for $55 USD. On average you can get 18, 36 exposure rolls out of a 100ft roll. That works out to $3 USD a roll! For me that is money well spent. With all that extra money you save you can buy more cameras you don’t need. Oh, hello M4! I have read that Arista EDU100 and Fomapan 100 are the exact same film just repackaged. If you see one of them at a better price know you are probably getting the same film. Seeing the results from many of the so-called cheap films out there today, I would not call Fomapan cheap. Just because it is less expensive, doesn’t mean you have to sacrifice quality, not with Fomapan 100.

Hallie - Leica M2 – 50mm Summicron Rigid – Fomapan 100 – Rodinal

DEVELOPING

Paris - Leica M2 – 50mm Summicron Rigid – Fomapan 100 – Rodinal

When it comes to developing at home, I will admit, I am lazy. It just so happens with my lazy technique of stand developing Fomapan 100 in Rodinal I get good results. I learned early on that Rodinal and fast films like Tri-X do not play well together. On the other hand, when developing T-max 100 in Rodinal it looks fantastic. Because of this I slowly gravitated to using T-max 100 and other slower speed films. When it came to home developing Fomapan 100 I just used Rodinal out of habit and still do. I develop most of my slow speed black-and-white film at home and have never had an issue.

My technique is simple. First rinse Fomapan 100 for five minutes. A one-hour stand development, with four inversions at the start, and two at the half hour mark. A standard stop bath, fix, and wetting agent. The less the agitation, the better. Too much agitation produces an unappealing grainy look. I have lab developed Fomapan 100 with good results and produced less grain than using Rodinal. Reading other people’s experience, it seems Fomapan works well with many developers. Once it’s developed it dries nice and flat, perfect for scanning or sliding into an enlarger tray.

Seamus - Leica M2 – 50mm Summicron Rigid – Fomapan 100 – Lab Developed Ilford

ARCHIVAL QUESTIONS

Foma uses a cellulose triacetate base for their films, unlike most modern films that are a polyester base. Cellulose acetate (a form of cellulose triacetate) films often result in a condition called “vinegar syndrome.” Vinegar syndrome happens when acetate film is stored in a warm, humid room. These conditions cause the film to decompose and give off a slight vinegar smell hence the name. I’ll let you Google the specifics but suffice to say acetate base films like Fomapan have been known to decompose as early as 70 years. Is this going to happen to the rolls of Fomapan 100 I’ve shot? Who knows? I probably won’t live long enough to find out. However, I think it is a consideration when shooting Fomapan.

Self Portrait - Leica M2 – 35mm Summicron V3 – F2 @ 1/15th - Fomapan 100 – Rodinal

Fomapan 100 is a high-quality film that produces fantastic results. Whether you are a beginner or a professional photographer, it has a great deal to offer. Most of my experience is with the 35mm, but it also comes in 120, and sheet films. Foma also makes a 200 speed, 320 speed “soft look”, 400 speed, and a reversal film. I highly recommend Fomapan 100 if you shoot black-and-white and love a look that hearkens back to an earlier time in film history. At such a low cost, it’s worth it to throw a couple rolls in your camera, see what you think, and support a company that still makes film.

About the author:

Jesse Hayes, Photographer, film junkie, photo book collector, and ex-member of a metal band. Based in the San Francisco Bay Area. Graduate of San Francisco Art Institute. Guaranteed to have a camera around my neck or in my bag with a couple extra rolls of black-and-white film.

IG: www.instagram.com/jsshayes/?hl=en

The post FOMAPAN 100 CLASSIC 35MM appeared first on Japan Camera Hunter.

#camerageekery #reviews #buyfilm #filmreview #filmphotography #foamfilmreview #fomafilm #fomareview #fomapan #fomapan100 #fomapanfilm #fomapanreview #japancamera #japancamerahunter #jessehayes #shootfilm

That final roll of film: What are you saving for?

Expired discontinued film has become a gold mine as evidence of the crazy prices some are commanding on the market. $50 for a roll of Natura 1600(!) The Show Us Your Film series on the site also reveals some folks have a healthy stash of bygone goodies suspended and entropy slowed behind fridge doors. Unless you're an ancient Egyptian, those canisters ain't going with you to the great beyond so what's it take to pop open the lid, load that roll in the chamber and slide the leader across?

Fujifilm Provia 400x

I recently went back to the States for a little road trip and my brother's wedding and shot that final roll of Provia 400x that I had been saving. Fujifilm Provia 400x was my favorite slide for it's relative forgivability, color tone, and nice grain. I remember pushing it to iso 1600 for favorable results back in the day. Fujifilm stock tends to be on the cool side but Provia had a little added warm punch that made it great for landscapes. Not the finest grain, being a pushable ISO 400, nevertheless it is eye-pleasing and atmospheric in my opinion. The final box I had expired in 2014 and has been in the fridge ever since so shooting it at box speed was probably a safe bet.

Fujifilm Neopan 1600

Neopan 1600 (a.k.a ‘Super Presto’ in Japan) was definitely my most shot black and white film stock. As such I was quite shaken up when its demise was announced back in 2009. It felt like a death in the family. In 2021 we still have two high-speed black and white films left in Ilford Delta 3200 and Kodak TMAX 3200, however neither possess the tonal quality of Super Presto.

Because of my procrastinating @$$ , I only managed to horde a brick before leftover inventory got out of hand with the gouging of the prices. Over the subsequent years, I've exhausted my supply and shot my third final roll a couple years ago at my sister's wedding. I have only 2 rolls left in the freezer, which I'm saving for hopefully the birth of my future kids.

Conclusion

Yes, Robert Zimmerman is always right when he warbled "the times they are a-changing" and the cherry blossoms annually send a memo about the fleeting trait of existence. I believe photographers are naturally a sentimental bunch and nostalgia is perhaps more amplified in us. How else could you explain this obsession with preserving a sliver of a moment to share whether anyone cares or not. Special moments merit special tools and our beloved final rolls deserve momentous occasions to make them that much more valuable. Got a couple rolls of Agfa Vista 400 and Natura 1600 left for my new niece and future sibling spawns but am undecided on what to do with my last roll of Agfachrome 1000. Would love to hear what occasions or projects y'all saving your precious canisters for.

MN

The post That final roll of film: What are you saving for? appeared first on Japan Camera Hunter.

#showusyourfilm #analogfilm #believeinfilm #buyfilm #expiredfilm #film #filmfridge #filmstorage #filmcollection #filmstash #japancamera #japancamerahunter #oldfilm

Film Review: Kodak Elite Color 200

Keeping up with the marketing tricks of rebranding names for the same product can be confusing like the first Mission Impossible movie and Kodak Elite Color 200 is no exception. I was given just the roll initially with the label "200UC"; I remember seeing Kodak 100UC and 400UC back in the day but not the 200 so that raised an eyebrow. Confounded with the actual box labelled "Elite Color", I was thoroughly confused with what this film is/was. Nevertheless, experimenting with mysterious expired film floats my boat and finds the lost remote so let's find out what Kodak Elite Color 200 is all about.

Background History

An initial search of Kodak 200UC in the google machine unveiled nada other than there apparently was a Kodak Professional Portra 200UC (Ultra Color) film that was "developed with commercial, fashion, editorial, architecture, advertising, and nature images in mind." I had never even heard of a Portra 200 let alone seen it so I was excited that this might be some version of that. Alas upon seeing the box they came in as a 3-pack, the Elite Color moniker through me off. Was this related to Elite Chrome which I loved the one roll i was able to shoot with? Or was this some rare rebadge of old 400UC? Why is it Elite Color and Ultra Color at the same time? Is this just the predecessor to Kodak Gold? So many questions swirled.

Some digging in the forums revealed that some believe this to be the same as, or very similar to, the products formerly known as Royal Supra 200 and Royal Gold 200. This cannot be confirmed at the moment. Kodak Royal Gold 200 replaced the original Ektar and ended in 2004 so if it were true Elite Color would have its root from OG Ektar.

The film that was originally Portra 400UC in the US had indeed become Ultra Color 400 in the US and Elite Color 400 in Europe. So this led me to believe that perhaps it is the predecessor to Kodak Color Plus and not Kodak Gold.

Kodak Elite Color 200 Tech Specs

For the geeks out there, the whole data sheet for Kodak Elite Color 200 can be seen here.

Kodak Elite Color 200 Sample Pics

Em over at Emulsive has a wonderful and comprehensive article on how to shoot expired film here. The roll I have expired in 2009 so the co called rule of thumb is minus a stop for every decade but he writes at length why that is a broad generalization. Not knowing anything about how it was kept, I decided to risk it and shoot it adding half a stop. It was then developed with Cinestill Cs41 and scanned with a Plustek Opticfilm 8200i.

Conclusion

Shooting expired film is a controversial endeavor. Many don't see the practicality of risking 36 precious, carefully calculated frames on a crap shoot. I am of the opinion that creativity is about taking risks and trying out any tools that may be at hand. A major point of film photography for me is not knowing what you're gonna get.

That being said, the look of this expired Kodak 200UC can be beneficial in certain light for certain subjects. Shadow detail is not retained well so well lit situations are ideal. I think this worked well shooting the ghost town of Bodie, California. The T-GRAIN Emulsion's chunkiness, along with the faded shadows amplify the coarse hands of father time.

Regardless that this ultimately could just be expired Colorplus, the dive into its history was an insightful look into the marketing tricks of the film industry. Keep on experimenting, learning and shooting.

MN

The post Film Review: Kodak Elite Color 200 appeared first on Japan Camera Hunter.

#reviews #200uc #buyfilm #elitecolor200 #expiredfilm #filmreview #japancamerablog #japancamera #japancamerahunter #kodak #shootfilm

Film Review: Fomapan R

Black and white reversal film are words you don't see often but that is exactly what is written on the box of Fomapan R. One of only 2 monochrome slide films (the other being Adox Scala) for still photography, Fomapan R has its roots in the motion picture industry. The pretty cool looking package design plus the curiosity of black and white transparencies were more than enough for me to want to pop a roll in my soul stealer and czech it out.

Background History

Fomapan R is a panchromatic sensitized black-and-white reversal film intended for for black-and-white movies to be projected as well as still photography. It is coated on a very clear base for maximum brightness on projection. The film is supplied in 35mm 36 exposure cassettes, 8mm standard 8, & 16mm in 100 foot rolls on daylight-loading spools.

The spectral sensitization of Fomapan R is designed for to true transfer color tones into the gray scale when exposed in daylight, and simultaneously to make full use of the film speed when exposed in artificial light. It is coated on an extra clear acetate base, with no grey anti-halation backing. Due to a very efficient anti-halation layer, situated between the base and emulsion layers, the film features very good resolving power and high contour sharpness. The anti-halation layer will decolorize during processing.

Bear in mind you'll need the special kit that Foma produces for it, the Fomapan R Reversal Kit. It may be a bit of a b!t*h to find a lab that can develop it otherwise. A quick search will show that not many do so you may have to send it out. For us, surprisingly no lab in Tokyo can do it so we had to send it to Camera Film Photo in Hong Kong.

Fomapan R Tech Specs

The film has a nominal speed rating of ISO 100/21o when processed in R-100 Process. Other processes can cause deviations from the nominal film speed. It is, therefore, recommended that the real film speed be checked by trial tests in such cases. From the shape of the characteristic curve, you can see the film is has very good differentiation of fine grey shades. Both in areas of highlights and shadows. In the areas of normal exposures, the linear part of the characteristic curve shows the gradation of 1,1.

Resolving power 115 lines per mm
Granularity RMS = 13.0. Measured at γ = 1.1. Process R-100.
Base FOMAPAN R is usually produced on a cellulose triacetate safety film base 0.125 mm thick or on a polyester film base of the same thickness when higher demands concerning mechanical resistance and dimensional stability are made on the film.

Again, if you want to process this yourself, you can use the Fomapan R Reversal Kit. There is conflicting reports online that conventional processing to negative is also possible but we can't confirm.

Fomapan R Sample Pics

I took the roll to 3 trusted labs in Tokyo and all said they couldn't develop it. One suggested I try a lab down in Atsugi, but in the end just sent it to Camera Film Photo in Hong Kong. The following are the scan files from a Frontier they sent.

Conclusion

It was an educational experience to try out a black and white slide like Fomapan R. I was quite surprised at how difficult it was to find a lab that can process this rare film. I would be curious to try cross processing it, but like some comments have already stated, what would be the point. Like color slide film, Fomapan R does not like to be overexposed, so proper metering is of the essence like wetness is to moisture.

From the results of this initial roll, I'm not convinced the look is unique enough to warrant the hassle of getting it developed. It's not a very Prague-matic (sorry) film. That being said, I can see it being used for some kind of installation using projectors. For pretty much for any other intents and purposes it's difficult to justify from I gather. If you need ISO 100 black and white, I'd just stick to Fuji Acros, Kodak Tmax, or pull Double X. What are your thoughts and experiences with Fomapan R?

MN

The post Film Review: Fomapan R appeared first on Japan Camera Hunter.

#reviews #buyfilm #filmreview #foma #fomapanr #japancamerablog #japancamera #japancamerahunter #shootfilm #slidefilm

First Look: Cinestill BwXX 120

Christmas cometh early to the film photography world when Cinestill finally released BwXX in 120 (#not120mm) last month. With film stocks dwindling with the glaciers, it is a boon that options are still popping up. I loved BwXX in 135, which we reviewed here, so getting my little fingers on a larger emulsive surface had me photographically licking my chops.

The Dealio

CineStill is proud to release this coveted classic cinema film emulsion — which has historically been reserved only for cinematographers since 1959 — in true 120 format for the first time. This compliments the previous release of BwXX in 35mm format, making both formats now available to photographers around the world looking for a versatile and beautiful black and white film stock.

Enjoyed these classic motion pictures? Some of the iconic movies filmed on the classic Eastman Double-X film stock 5222 / 7222 include:

The Lighthouse (2019), Raging Bull (1980), Schindler 's List (1993), Stranger Than Paradise (1984), Malcolm & Marie (2021), Memento (2000), Kafka (1991), Casino Royale (2006), I'm Not There (2007), Kill Bill: Vol. 1 (2003), Manhattan (1979), Cinderella Man (2005), Aferim! (2015), Frantz (2016), American Horror Story (2011-2017), and many many more.

Akin to the legendary Kodak Plus-X & Tri-X emulsions, it is an excellent choice for all those looking for a classic film stock with top-level performance and versatility in a variety of conditions.

Cinestill BwXX 120 Tech Specs

CineStill BwXX is a variable speed, classic panchromatic black and white negative film for both outdoor and indoor/studio use. It has a variable base sensitivity of ISO 250 under daylight (5500K) and ISO 200 under tungsten (3200K) lighting conditions, and can be rated up to ISO 1600 with the appropriate processing compensation. Ideal for low light situations, this film delivers rich blacks and and wide range of tonal steps, while also providing very high sharpness, crisp micro-contrast, and a fine grain structure.

Features

Black and white negative film
Variable speed (ISO 200-800)
120 format
Classic cinematic look
Rich tonality
Excellent sharpness

Cinestill BwXX 120 first roll

For the maiden roll of Cinestill BwXX 120, I thought it only appropriate to develop it with the Cinestill df96 monobath. So I popped a roll into my beautiful Rolleiflex SL66 and braved the humidity of rainy season. Shot and self-developed at EI 200, scanned on a Canoscan 8200f.

100% crop

Contrast varies based on developer and method, but as a rule of thumb pushing (higher EI) increases contrast, and pulling (lower EI) lowers contrast. CineStill recommends you develop with D96 developer for better control. For lower contrast, they recommend you shoot and process at EI 200.

Please do reference CineStill’s film development time chart for a variety of processes used for at-home or lab development.

Impressions

Cinestill assures us that the stock has more dynamic range than most still photography emulsions. Indeed, from my experience shooting BwXX in 135 it is capable of deep blacks while maintaining highlight detail. For the first roll I opted to follow their recommendation and shot and processed at EI 200.

Unfortunately it is rainy season so on cloudy days the light is softer and more diffused. That’s good sometimes, especially for portraiture, but we do lose some of that trademark contrast. On a scale of 1-10, with Kentmere being a 1 and JCH Streetpan a 10, I would give the contrast for BwXX a 7.

The grain structure looks fine to me, maybe pronounced for a 200 film but no biggie. From scans and looking at them on a screen, they pretty much resemble Kodak Tri-X with more halation on the highlights giving that surreal, dreamy look.

I look forward to pushing this film and shooting in more contrasty light so stay tuned for more updates. As well as developing it in other chemicals. Have y'all tried out Cinestill BwXX in 120 or want to? It's exciting that in 2021 companies like Cinestill are still bringing us more film options and that can't be a bad thing.

MN

The post First Look: Cinestill BwXX 120 appeared first on Japan Camera Hunter.

#filmnews #buyfilm #bwxx120 #cinestill #cinestill120 #cinestillbwxx #cinestillbwxx120 #filmnewscinestill #filmreview #japancamerahunter #newmediumformatfilm #newphotographicfilm #shootfilm

Film Review: Ferrania Solaris 400 FG Plus

It felt like 2008 all over again when we at JCH came across some Ferrania Solaris 400 FG Plus to be acquired. Ferrania Solaris 400 FG Plus, along with Agfa Vista 400, was my go-to budget color film around the turn of this century. Unfortunately I've long exhausted my hoarded supply so I was pretty stoked to step in a Delorean and hit that 88 mph to nostalgic color dyes.

But at 5 euro for a 12 exposure roll and expired since 2012, is it still worth it? If you loved Ferrania Solaris 400 in the past or curious about trying it now, I hope this little article can be useful information.

Background History

Or lack thereof. There appears to be extremely scant information on this film. I could not find even when this film started. For one of the premier budget minded color films of the day there is a surprising lack of documented history. But I know it went the way of the dodo in 2010 when the Ferrania factory ended its operations when the last building was powered down and the doors locked…until a couple years ago.

Ferrania is in the midst of making a comeback; P30 came back in 2019 (we reviewed it here) and there's even murmurings that Solaris is coming back, along with a 100 slide. But with Ferrania's tumultous track record, holding one's breath is not recommended by 4 out of 5 leading experts. If anyone knows some more information about the Solaris line, I'm all ears.

Ferrania Solaris 400 FG Plus Sample Images (then)

When I first arrived in Japan in 2008, Ferrania Solaris 400 FG Plus was ￥400 ($3.40USD or so) for a 36 exp roll. Kodak Portra 400 at more than double that was hefty for a poor @$$ English teacher and was reserved for special occasions and projects. That hasn't changed in that regard, except budget color options now leave something to be desired.

For random snaps, popping a roll of Ferrania Solaris 400 in a point and shoot like my Yashica T3 Super was perfect. For me, I liked the grain of Solaris and the color balance was something in between the coolness of Fuji and warmth of Kodak.

The colors were vibrant and poppy, like a slightly under-saturated Agfa Vista, making it a fun choice for snaps with friends. I also enjoyed it in the streets. On overcast days the colors get muted but not significantly, still adding some pop to an otherwise drab day. It may not have the luxurious and sumptuous look of Kodak and more pronounced grain, but for these purposes I had zero complaints. For a similar price, I definitely preferred it to Fuji Superia.

Ferrania Solaris 400 FG Plus Sample Images (now)

My Yashica T3 Super met its match shooting in a typhoon several years ago, so for this revisit of an old friend I put it in a Canonet QL17. We're under lockdown to look good for the Olympics so the only event happening is the mass vaccination center in Otemachi. Though it's 9 years expired, I decided to risk it and shoot it at box speed. It was then self-developed with Cinestill CS41 in a Lab-box and scanned on a Plustek Opticfilm 8200i.

Conclusion

It was great to have the opportunity to see and old friend again. I wish it could have been under different circumstances, a once-a-few-generations global pandemic and rainy season does not an ideal setting make. I was happy to see that Cinestill CS41 does a decent job with bringing out that color tone I remember, though the underexposure might be attributed to being almost a decade expired. If you also have no idea how the rolls were kept, adjusting your ISO setting accordingly is recommended.

Do you miss Ferrania Solaris? I do, but at 40 cents a shot and questionable quality, it loses the bang-for-your-buck benefit of its heyday. Hopefully Ferrania can get their fecal matter organized and bring this baby back and at a reasonable price point. Do let us know your thoughts and experiences with Ferrania Solaris; would you buy the re-release or should it be left in the annals of history?

MN

The post Film Review: Ferrania Solaris 400 FG Plus appeared first on Japan Camera Hunter.

#reviews #400fgplus #buyfilm #ferrania #filmreview #filmnews #filmphotography #japancamerablog #japancamera #japancamerahunter #shootfilm #solaris

Film Review: Scotch Chrome 1000

3M's Scotch brand is virtually synonymous with tape so I was a tad surprised to find a little box tucked away in the JCH freezer labeled Scotch Chrome 1000. We've recently moved office so while packing up our knick knacks, I stumbled upon this curious emulsion for the first time. So many questions swirled around the noodle. ISO 1000 slides? Who used this $h!t? Expired since 1995? How should you shoot it now?

A dive into this peculiar film's background unveils quite a tumultuous and pivotal time for photographic film. If Scotch Chrome 1000 piques your curiosity as much as it did mine, scroll on down and learn yourself something about an interesting chapter of film photography history.

Scotch made film?

3M, the American super company from Minnesota, is arguably most well known for its sub-brand Scotch. As in Scotch tape. Like Xerox for copiers or Google for search, the brand became synonymous with the product and manifested itself into a household name. Based on that, 3M decided to use the Scotch name for film production after acquiring a little film production company called Ferrania.

3M and Ferrania

Ferrania was/is again an Italian filmmaker based in Ferrania (Liguria), Italy founded in 1923. They were producers of photographic film, papers, and photographic equipment, even some cameras. By the 1960s, Ferrania had become a highly respected company and a major presence in Europe with production of cinema products and photographic film for use by consumers and medical professionals alike.

Ferrania's success caught the attentive eye of mega company 3M and in 1964 they acquired Ferrania S.p.A. in a stock purchase valued at $55 million and renamed the company to Ferrania 3M. It was 3M’s largest acquisition in its 62 year history.

OG Ferrania produced B&W cine and still films such as the legendary P30 (check our review of it here) but as Ferrania 3M, it pivoted to OEM. They became a significant producer of so called 'private label' consumer color films for both retailers and traditional B&W film producers needing a color film to repackage under their own brand. In other words, they made their name making a name for other names ;) Examples are the Scotch brand , Fortecolor film (Konica), Polaroid, Lomography (CN100), the Boots UK pharmacy chain color films from 1973-2003 and even AgfaPhoto color negative and slide films from 2005-2009. At this point, any trace of Ferrania roots could only be found in the humble "Made in Italy" imprint.

Packaging at the beginning of the 3M Era (via Emulsive)

End of an era

The final blow to the Ferrania brand of old came on November 14, 1995, when 3M announced the unprecedented restructuring. The head honchos decided to spin off the data storage and imaging businesses into a new company (Imation) and discontinue its audio and videotape businesses. Film packaging changed once again and placed even more distance between Ferrania and the consumer.

Imation's relationship with Ferrania was short-lived as it only lasted until 1999 when the Italian operations were sold to an investment company. While this allowed for the Ferrania brand to be resurrected, it was already too late. A double pronged attack proved overwhelming. Digital photography had began its Thanos onslaught on film and they lacked the sufficient resources and marketing prowess to take on the big four of Kodak, Fuji, Agfa and Ilford.

However, reflecting on the positives, the Ferrania 3M years are remembered by those who worked there as being full of great professional opportunities. 3M fast-tracked the L.R.F. building to allow for extensive research and development, and provided high-quality training and other programs for their new Italian crew as well as upgrading the machinery and processes of the original factory.

As a result, they produced the world’s fastest daylight-balanced color transparency film in 1983, Scotch Chrome 1000 - a milestone that was never surpassed.

Scotch Chrome 1000 in professional use

Advertisement photographer extraordinaire Jody Dole was a prominent proponent of Scotch Chrome 1000. “I was using grainy film, the cheapest I could find,” Dole reflects. The unique graininess, and how he photographed a vodka bottle and glass, plus “total dumb luck,” landed him a $90 million Smirnoff advertising account. “That really launched my career,” Dole said.

Below are some samples from Dole and other photographers as well as some words on their choice of going with Scotch Chrome 1000 taken from the pages of a 90's Pop Photo magazine. According to Dole, Scotch Chrome 1000 is the "only slide film that you can push without gaining contrast or undesirable color shifts."

Iconic Smirnoff ads shot by Jody Dole on Scotch Chrome 1000

Excerpt from 90's Pop Photo Magazine

A closer look

I love the packaging design. The black box with the color choices all work for me and that blocky 90's look is cool. I'm also a sucker for metallic foil labeling on boxes.

The canister too is simple but cool and complements the outside box perfectly. Color is understatedly used for vital information and text is spaced out efficiently and easy to read.

As this roll has been expired for over 15 years, I knew there was probably no way I could shoot it like Dole pushed or even at box speed. While it is known to have been in a freezer for the last 5 years while we had it, we have no idea of how it was kept before that. The rule of thumb for shooting expired film is adjusting a stop for every decade, but I decided to just go with a gut feeling and try giving it a go at 640.

Scotch Chrome 1000 Sample Images

The following images were shot at ISO640 with a Leica M6 and 35mm Summicron v4. Lab developed at Photo Ueno and scanned on a Plustek Opticfilm 8200i.

Thoughts

So yeah, the film is indeed very grainy. Shooting it at ISO 640 even displays the pronounced grain structure. From these results, its quite hard to imagine how they used to push this to 4000.

The color temperature is on the cool despite being a daylight film. This can also be attributed to simple entropy or unknown exposure to temperature changes over the years. Nevertheless you do get a glimpse of what the film was capable of in its glory days, especially when the exposure is spot in good light. But like the ex-POTUS, tolerant it is not. Shadows are easily muddled and performance in flat lighting is underwhelming at best.

The pronounced grain is unique and the somewhat dated color tone can be applied to creative uses but for most I imagine Scotch Chrome 1000 is just not worth a bother today. There really is no need for it to be a slide film. I do wish I could have shot it back in the day though to see how it truly performs. That being said, it was an an educational journey and and interesting taste test of some history.

What are your experiences with Scotch Chrome films? Would you shoot it if it was around today? Let us know your thoughts below.

MN

The post Film Review: Scotch Chrome 1000 appeared first on Japan Camera Hunter.

#reviews #3m #buyfilm #chrome #ferrania #filmreview #japancamerablog #japancamera #japancamerahunter #scotch #scotchchrome1000 #shootfilm

Film Review: Scotch Chrome 1000

3M's Scotch brand is virtually synonymous with tape so I was a tad surprised to find a little box tucked away in the JCH freezer labeled Scotch Chrome 1000. We've recently moved office so while packing up our knick knacks, I stumbled upon this curious emulsion for the first time. So many questions swirled around the noodle. ISO 1000 slides? Who used this $h!t? Expired since 1995? How should you shoot it now?

A dive into this peculiar film's background unveils quite a tumultuous and pivotal time for photographic film. If Scotch Chrome 1000 piques your curiosity as much as it did mine, scroll on down and learn yourself something about an interesting chapter of film photography history.

Scotch made film?

3M, the American super company from Minnesota, is arguably most well known for its sub-brand Scotch. As in Scotch tape. Like Xerox for copiers or Google for search, the brand became synonymous with the product and manifested itself into a household name. Based on that, 3M decided to use the Scotch name for film production after acquiring a little film production company called Ferrania.

3M and Ferrania

Ferrania was/is again an Italian filmmaker based in Ferrania (Liguria), Italy founded in 1923. They were producers of photographic film, papers, and photographic equipment, even some cameras. By the 1960s, Ferrania had become a highly respected company and a major presence in Europe with production of cinema products and photographic film for use by consumers and medical professionals alike.

Ferrania's success caught the attentive eye of mega company 3M and in 1964 they acquired Ferrania S.p.A. in a stock purchase valued at $55 million and renamed the company to Ferrania 3M. It was 3M’s largest acquisition in its 62 year history.

OG Ferrania produced B&W cine and still films such as the legendary P30 (check our review of it here) but as Ferrania 3M, it pivoted to OEM. They became a significant producer of so called 'private label' consumer color films for both retailers and traditional B&W film producers needing a color film to repackage under their own brand. In other words, they made their name making a name for other names ;) Examples are the Scotch brand , Fortecolor film (Konica), Polaroid, Lomography (CN100), the Boots UK pharmacy chain color films from 1973-2003 and even AgfaPhoto color negative and slide films from 2005-2009. At this point, any trace of Ferrania roots could only be found in the humble "Made in Italy" imprint.

Packaging at the beginning of the 3M Era (via Emulsive)

End of an era

The final blow to the Ferrania brand of old came on November 14, 1995, when 3M announced the unprecedented restructuring. The head honchos decided to spin off the data storage and imaging businesses into a new company (Imation) and discontinue its audio and videotape businesses. Film packaging changed once again and placed even more distance between Ferrania and the consumer.

Imation's relationship with Ferrania was short-lived as it only lasted until 1999 when the Italian operations were sold to an investment company. While this allowed for the Ferrania brand to be resurrected, it was already too late. A double pronged attack proved overwhelming. Digital photography had began its Thanos onslaught on film and they lacked the sufficient resources and marketing prowess to take on the big four of Kodak, Fuji, Agfa and Ilford.

However, reflecting on the positives, the Ferrania 3M years are remembered by those who worked there as being full of great professional opportunities. 3M fast-tracked the L.R.F. building to allow for extensive research and development, and provided high-quality training and other programs for their new Italian crew as well as upgrading the machinery and processes of the original factory.

As a result, they produced the world’s fastest daylight-balanced color transparency film in 1983, Scotch Chrome 1000 - a milestone that was never surpassed.

Scotch Chrome 1000 in professional use

Advertisement photographer extraordinaire Jody Dole was a prominent proponent of Scotch Chrome 1000. “I was using grainy film, the cheapest I could find,” Dole reflects. The unique graininess, and how he photographed a vodka bottle and glass, plus “total dumb luck,” landed him a $90 million Smirnoff advertising account. “That really launched my career,” Dole said.

Below are some samples from Dole and other photographers as well as some words on their choice of going with Scotch Chrome 1000 taken from the pages of a 90's Pop Photo magazine. According to Dole, Scotch Chrome 1000 is the "only slide film that you can push without gaining contrast or undesirable color shifts."

Iconic Smirnoff ads shot by Jody Dole on Scotch Chrome 1000

Excerpt from 90's Pop Photo Magazine

A closer look

I love the packaging design. The black box with the color choices all work for me and that blocky 90's look is cool. I'm also a sucker for metallic foil labeling on boxes.

The canister too is simple but cool and complements the outside box perfectly. Color is understatedly used for vital information and text is spaced out efficiently and easy to read.

As this roll has been expired for over 15 years, I knew there was probably no way I could shoot it like Dole pushed or even at box speed. While it is known to have been in a freezer for the last 5 years while we had it, we have no idea of how it was kept before that. The rule of thumb for shooting expired film is adjusting a stop for every decade, but I decided to just go with a gut feeling and try giving it a go at 640.

Scotch Chrome 1000 Sample Images

The following images were shot at ISO640 with a Leica M6 and 35mm Summicron v4. Lab developed at Photo Ueno and scanned on a Plustek Opticfilm 8200i.

Thoughts

So yeah, the film is indeed very grainy. Shooting it at ISO 640 even displays the pronounced grain structure. From these results, its quite hard to imagine how they used to push this to 4000.

The color temperature is on the cool despite being a daylight film. This can also be attributed to simple entropy or unknown exposure to temperature changes over the years. Nevertheless you do get a glimpse of what the film was capable of in its glory days, especially when the exposure is spot in good light. But like the ex-POTUS, tolerant it is not. Shadows are easily muddled and performance in flat lighting is underwhelming at best.

The pronounced grain is unique and the somewhat dated color tone can be applied to creative uses but for most I imagine Scotch Chrome 1000 is just not worth a bother today. There really is no need for it to be a slide film. I do wish I could have shot it back in the day though to see how it truly performs. That being said, it was an an educational journey and and interesting taste test of some history.

What are your experiences with Scotch Chrome films? Would you shoot it if it was around today? Let us know your thoughts below.

MN

The post Film Review: Scotch Chrome 1000 appeared first on Japan Camera Hunter.

#reviews #3m #buyfilm #chrome #ferrania #filmreview #japancamerablog #japancamera #japancamerahunter #scotch #scotchchrome1000 #shootfilm