Lmst

Better Living Through Chemistry | Picking Your Developers

Developing your film at home is both rewarding and frustrating at the same time and to add on an extra layer of complexity there is a lot of developers out there that you can use, especially in the black & white field. While certainly not as much as there used to be, there is still an excellent selection of developers to suit almost every person's need, without having to dive deep into building your developers from base chemicals. Ultimately every photographer has a different taste but if you're starting out with home development the choices may seem a little overwhelming so I'll be breaking down the different characteristics you may look for in your developing and what I feel are the best choices for each characteristic.

General Purpose Developing
While there is always a temptation to dive right into the exotic, I have found it best to get your feet wet with a bit of boring, the idea behind a good general purpose developer is that it doesn't do anything beyond developing your film and letting you explore what your films can do first before altering it through changes in exposure and development. These developers often come in large volumes and allow for development using a stock dilution to help maximise the number of rolls you can develop in a kit. The first one in this mix is the old favourite, Kodak D-76. D-76 along with the various clones available including Flic Film Classic MQ, Ilford ID-11, FPP's Dalzell76, and many others comes in either a 1 gallon or 1 liter volume and offers up use as a reusable stock solution or you can dilute it down to 1+1 or 1+2 into a one-shot developer. In all cases, this developer will handle a good 90-95% of your development needs and can even offer up some use for push and pull development. And there is almost a development time for every B&W film available today and even in the past.

Mamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Kodak Tri-X 400 @ ASA-200 - Ilford ID-11 (Stock) 6:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Kodak TMax 100 @ ASA-100 - Kodak D-76 (1+1) 9:30 @ 20CNikon FE - AI-S Nikkor 35mm 1:2.8 - Kodak Tri-X 400 @ ASA-400 - Flic Film Classic MQ (1+1) 9:30 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Rollei RPX 400 @ ASA-400 - Kodak D-76 (Stock) 8:00 @ 20CKyocera Contax G2 - Carl Zeiss Biogon 28/2,8 T* - Rollei RPX 25 @ ASA-25 - Kodak D-76 (1+1) 8:00 @ 20C

Second on my list for a good general purpose developer is Ilford Ilfosol 3, despite the drawbacks this is an excellent choice when starting with home developing. The developer comes in a liquid concentrate that is easy to work with and takes little effort to pour and mix. You only have two dilution options 1+9 and 1+14 that will both produce similar results it all depends on how many rolls of film you have to develop. Ilfosol 3 can only be used as a one-shot developer and it oxidises far quicker than other liquid developers. That means that you will want to shoot all your film and then run through to bottle as quickly as possible. Alternatively you can use canned air to help displace any oxygen or use glass marbles to keep the volume up. You also have a tonne of options for developing film with most modern film stocks having a listed time.

Nikon FG - Nikon Series E 50mm 1:1.8 - Ilford Pan F+ @ ASA-50 - Ilford Ilfosol 3 (1+14) 4:30 @ 20CHasselblad 500c - Carl Zeiss Planar 80mm 1:2.8 - Rollei RPX 100 @ ASA-100 - Ilford Ilfosol 3 (1+9) 5:00 @ 20CPentax 645 - SMC Pentax A 645 35mm 1:3.5 - Ilford Delta 100 @ ASA-100 - Ilford Ilfosol 3 (1+14) 2:50 @ 28CKyocera Contax G2 - Carl Zeiss Planar 2/45 T* - Ilford FP4+ @ ASA-125 - Ilford Ilfosol 3 (1+14) 7:30 @ 20CNikon F5 - AF-S Nikkor 14-24mm 1:2.8G - JCH Streetpan 400 @ ASA-400 - Ilford Ilfosol 3 (1+3) 5:00 @ 20C

And the third choice I have for general purpose developing is Adox FX-39 II, I first discovered this developer several years ago and it quickly became a fast favourite. This is another liquid concentrate that has only two dilutions available and is easily mixed into a one-shot working solution and in both cases they produce similar results so it all depends on how economical you want to be with your bottle. It also has a longer shelf life than Ilfosol 3, I've had one bottle go for a year and still was running strong by the time I drained the concentrate. The one thing that FX-39 II has that the previous two do not is a set of universal times for films exposed at box speed if there isn't a listed time. But don't worry, there is a lot of listed times available for the developer.

Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Adox CHS 100 II @ ASA-80 - Adox FX-39 II (1+9) 7:30 @ 20CMinolta Dynax 600si Classic - Minolta Maxxum AF 28mm 1:2.8 - Agfa Silvertone @ ASA-400 - Adox FX-39II (1+9) 10:00 @ 20C (Constant Rotation)Nikon F5 - AF Nikkor 85mm 1:1.8D - Ilford Delta 100 @ ASA-100 - Adox FX-39 II (1+9) 7:00 @ 20CNikon F5 - AF Nikkor 24mm 1:2.8 - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 9:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Kosmo Foto Agent Shadow @ ASA-400 - Adox FX-39 II (1+9) 10:30 @ 20C

Sharpness
Sharpness is both overrated and highly valued in the photography field, it's a bit of a buzz word. That being said there are several excellent options out there to help improve your film's sharpness. While sharpness can holistically mean a combination of edge sharpness and tonal contrast, these developers are used strictly to increase the edge sharpness of your images. The downside is that it will also increase the visible grain. The number one choice from anyone in this field is Rodinal, these days you can get it under several different names, Adox carries the copyright for the Rodinal name but in Canada we have the best clone, Blazinal. Rodinal can be used one of two ways, the first as a standard developer using either a 1+25 and 1+50 dilution for one-shot or you can stand-develop the film in a 1+100 or 1+200 dilution for either 1 hour or 2 hours respectively. While many people would avoid using Rodinal with faster films, I find that it does work well with both slow films that are already sharp, mid-speed films in the same vein and even faster films.

Hasselblad 500c - Carl Zeiss Planar 80mm 1:2.8 - Kodak Tri-X 400 @ ASA-200 - Blazinal (1+25) 7:00 @ 20CNikon F90 - AF Nikkor 35mm 1:2D - Bergger Pancro 400 @ ASA-800 - Blazinal (1+25) 13:00 @ 20CHasselblad 500c - Carl Zeiss Distagon 50mm 1:4 - Rollei RPX 25 @ ASA-25 - Blazinal (1+50) 11:00 @ 20CNikon F5 - AF-S Nikkor 28-70mm 1:2.8D - CatLABS X Film 320 Pro @ ASA-320 - Adox Rodinal (1+25) 9:00 @ 20CMamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford Ortho Plus @ ASA-80 - Blazinal (1+50) 15:00 @ 20C

Next on my list for increasing the edge sharpness of your film is Ilford Perceptol. While not necessarily a sharp developer, it does an excellent job in increasing sharpness while keeping visible grain under control. Perceptol is mixed from powder into a stock solution which you can use as a reusable developer (4 rolls per liter) or as a one-shot diluted either 1+1 or 1+3. It isn't the most economical developer either way as it is only available in a 1 liter kit. This is also the developer that does wonders with almost every film that you develop with it, the one thing you will notice in some cases is that you will have a bit of speed loss with faster films.

Pentax K1000 - SMC Pentax 55mm 1:2 - Ilford HP5+ @ ASA-320 - Ilford Perceptol (1+1) 18:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Kodak Tri-X 400 (400TX) @ ASA-320 - Ilford Perceptol (1+1) 12:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 50mm 1:1.4 - Fujifilm Neopan Acros 100 @ ASA-80 - Ilford Perceptol (1+1) 13:00 @ 20C (Constant Rotation)Pentax 645 - SMC Pentax A 645 35mm 1:3.5 - Ilford Delta 100 @ ASA-50 - Ilford Perceptol (1+1) 13:00 @ 20CHasselblad 500c - Carl Zeiss Planar 80mm 1:2.8 - Rollei RPX 25 @ ASA-25 - Ilford Perceptol (1+1) 10:00 @ 20C

On the rarer end of the spectrum there's SPUR HRX. SPUR is known for producing developers designed for increased sharpness and resolution and HRX certainly fits the bill. I mean there name is short for Speed Photography, Ultra Resolution and HRX is for High-Resolution X. Now the one thing that might turn people off of HRX other than sourcing the chemisty is that it's a two-part developer with a single dilution. So there's a bit of math involved by dividing the amount of concentrate in two. And HRX will hand down some amazingly sharp images but on faster films there is a speed loss and an uptick in visible grain.

New Mamiya 6 - Mamiya G 1:3.5 f=75mm L - Kodak Tri-X 400 @ ASA-250 - SPUR HRX (1+17) 10:00 @ 20C (Constant Rotation)Canon EOS Elan IIe - Canon Lens EF 50mm 1:1.8 - Oriental Seagull 400 @ ASA-400 - SPUR HRX (1+13) 12:30 (Constant Rotation)Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 (Yellow-12) - Fomapan 100 @ ASA-100 - SPUR HRX (1+20) 11:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - FPP Frankenstein 200 @ ASA-125 - SPUR HRX (1+17) 7:45 @ 20C (Constant Rotation)Zeiss Ikon Contax IIIa - Zeiss Opton Sonnar 1:1,5 f=50mm - Ilford FP4+ @ ASA-100 - SPUR HRX (1+20) 9:30 @ 20C

Fine-Grain
On the opposite end of the spectrum there's fine-grain developers. These are ones that are designed to reduce the amount of visible grain. Now in the past this has often resulted in a loss of edge sharpness but most modern developers are a balance of retaining sharpness while reducing the amount of visible grain. Number one on my list is Ilford Microphen. Microphen, a cousin to Perceptol does an excellent job with reducing grain while maintaining decent edge sharpness and controlling contrast. It can be used as both a stock reusable solution (up to 10 rolls) or as a one-shot developer in either a 1+1 or 1+3 dilution. This works incredible well in the stock dilution in cutting down grain on some of the worst offenders like Fomapan 400, Fomapan 200, and ORWO N74.

Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Rollei Retro 80s @ ASA-80 - Ilford Microphen (Stock) 9:00 @ 20CNikon FM - AI-S Nikkor 105mm 1:2.5 - Fomapan 100 @ ASA-100 - Ilford Microphen (1+1) 9:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 (Yellow-12) - Ilford Ortho Plus @ ASA-80 - Ilford Microphen (Stock) 9:00 @ 20CMamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Lomography Berlin 400 @ ASA-400 - Ilford Microphen (Stock) 7:00 @ 20CNikon FM - AI-S Nikkor 35mm 1:2.8 - Fomapan 100 @ ASA-100 - Ilford Microphen (1+1) 9:00 @ 20C

Second is the obvious choice, Kodak Xtol. This is the second fine-grain developer released by Kodak and was the final developer to come out of Kodak. You can also find it in several clones including Adox XT-3 and Bellini Foto Eco Developer plus several others. If you do a high-volume of developing then Xtol and XT-3 come in 5 liter volumes. The one thing that stands out for Xtol is that not only does it cut down on the visible grain, it also helps retains some level of edge sharpness. Now recently there were some concerns over the quality of the Xtol developer coming out of Sino Promise, but now that manufacturing has switched back to a US based company there doesn't seem to be the same problem. In all cases you can use the developer in stock form as a reusable developer or dilute it to one-shot in either 1+1 or 1+2 dilutions with only slight changes to how the developer acts.

Nikon FM - AI Nikkor 28mm 1:3.5 - Fomapan 200 @ ASA-200 - Adox XT-3 (Stock) 6:00 @ 20CNikon F5 - AF-S Nikkor 14-24mm 1:2.8G - FPP Mr. Brown @ ASA-6 - Kodak Xtol (stock) 10:30 @ 20CPentax 645 - SMC Pentax A 645 75mm 1:2.8 - Kodak Tri-X Pan (TXP) @ ASA-1250 - Kodak Xtol (Stock) 12:00 @ 20CHasselblad - 500c - Carl Zeiss Distagon 50mm 1:4 - Fuji Acros 100 @ ASA-100 - Kodak Xtol (stock) 8:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford HP5+ @ ASA-1600 - Bellini EcoFilm (Stock) 11:00 @ 20C (Constant Rotation)

The final choice is an interesting one as it is the developer that Xtol replaced, Kodak Microdol-X. Today you cannot find Microdol-X new, but if you come across a sealed pouch of the stuff then it should still be good! Rather LegacyPro makes a perfect clone of Microdol-X called Mic-X. This can be used three different ways, first is in the stock form where it is a perfect fine-grain developer and reusable but at the cost of reducing some of that edge sharpness. Second in a 1+3 one-shot dilution it does increase edge sharpness and in the third form a 1+1 one-shot dilution it is a balance of both. But even in the stock form with a modern sharp film, you don't see much reduction.

Pacemaker Crown Graphic - Schneider-Krueznack Symmar-S 1:5.6/210 - Kodak Plus-X Pan @ ASA-125 - Kodak Microdol-X (Stock) 8:00 @ 20CMamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Fomapan 100 @ ASA-100 - LegacyPro Mic-X (1+1) 9:00 @ 20C (Constant Rotation)Minolta Dynax 600si Classic - Minolta Maxxum AF 24mm 1:2.8 (Yellow-12) - Ilford FP4+ @ ASA-25 - LegacyPro Mic-X (1+3) 10:00 @ 20C (Constant Rotation)Canon EOS 3000 - Canon Lens EF 50mm 1:1.8 - Arista EDU.Ultra 200 @ ASA-200 - LegacyPro Mic-X (1+1) 8:30 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 (Yellow 8) - Kodak TMax 400 @ ASA-400 - LegacyPro Mic-X (Stock) 9:15 @ 20C (Constant Rotation)

Compensating Developers
A compensating developer is such a loaded term which is why I'm putting it in the final spot for this entry. The main reason is that I have already talked about a tonne of different developers that can be considered compensating. Ones like Xtol and Microphen all are in this category. These are developers that will help cut down some of the negative impacts of both push and pull development which compensate for over and under exposure. They also work well with expired films and help reduce grain and cut down on overly contrasty scenes or films. At the top of my list for compensating developers in Diafine. Now Diafine can be hard to acquire today, but there are similar developers being produced, I do believe that Bellini Foto has one and Flic Film has teased at something similar. Diafine is a two-bath developer, meaning you develop the film once in Part A then develop the film a second time in Part B. There is also a standard set of times that if you expose the film at an ideal speed you can develop multiple rolls at multiple speeds at the same time. And the best part is that I've seen good results no matter what film I've used with Diafine. And if you do get your hands on the stuff it tends to last forever.

Minolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Eastman Double-X 5222 @ ASA-1600 - Diafine (Stock) 4:00 + 4:00 @ 20CNikon F5 - AF Nikkor 50mm 1:1.4D - FPP XRay Film @ ASA-400 - Diafine (Stock) 5:00 + 5:00 @ 20CKonica-Minolta Maxxum 70 - Minolta Maxxum AF 50mm 1:1.7- Arista EDU.Ultra 100 @ ASA-200 - Diafine (Stock) 3:00 + 3:00 @ 20CNikon FE2 - AI Nikkor 24mm 1:2.8 (Yellow-12) - Ilford FP4+ @ ASA-250 - Diafine (Stock) 3:00 + 3:00 @ 20CMinolta Dynax 600si Classic - Minolta Maxxum AF 50mm 1:1.4 - Ilford HP5+ @ ASA-800 - Diafine (Stock) 3:00 + 3:00 @ 20C

Second on my list might raise some eyebrows but it's Kodak HC-110 along with the various clones including Ilfotec HC and LegacyPro L110. The one thing I like about HC-110 is that you can adjust how the developer can adjust to either help increase contrast or decrease contrast and even get into compensating territory. Now if you're running the stronger dilutions like A (1+15) and B (1+31) it acts more like a general purpose developer. But once you get into more dilute mixes like E (1+47), F (1+79), G (1+119) H (1+63), and even a special 1+90 with a fixed 18 minute time that will develop most B&W films when exposed at box speed. Now many people will turn there nose up at HC-110 these days because of the change of how the developer handles, it works well in Ilfotec HC that behaves similar to the original HC-110.

Minolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Svema FN64 @ ASA-64 - Kodak HC-110 Dil. H 16:00 @ 20CMinolta Maxxum 9 - Konica-Minolta Zoom AF 17-35mm 1:2.8-4 D - Lomography Potsdam 100 @ ASA-100 - Kodak HC-110 Dil. H 7:30 @ 20C>Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - JCH Streetpan 400 @ ASA-400 - Kodak HC-110 Dil. F 12:30 @ 20CKyocera Contax G2 - Carl Zeiss Biogon 2.8/28 T* - Kodak Tri-X 400 @ ASA-400 - Kodak HC-110 Dil. B 4:30 @ 20CKyocera Contax G2 - Carl Zeiss Biogon 2,8/28 T* - Eastman 5363 @ ASA-25 - Kodak HC-110 Dil. G 22:00 @ 20C

And finally there is Zone Imaging 510-Pyro, this is one of my favourite developers to use when I want a good balance between edge-sharpness and fine-grain. Now Pyro developers are not for everyone as there is a lot of extras needed to get the best out of the developer and your negatives. But between all the available pyro developers, 510-Pyro is the easiest to handle. It has only one concentrate and is mixed 90% of the time at a 1+100 dilution. It is thicker than other pyro developers but does have an incredibly long shelf-life. Honestly, I have yet to find a film stock that 510-Pyro doesn't like.

Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - CatLABS X Film 320 Pro @ ASA-320 - Zone Imaging 510-Pyro (1+100) 12:15 @ 20C (Constant Rotation)Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Adox CHS 100 II @ ASA-80 - Zone Imaging 510-Pyro (1+100) 8:00 @ 20CNikon FE2 - AI Nikkor 24mm 1:2.8 (B+W 092) - FPP BW Infrared @ ASA-200 - Zone Imaging 510-Pyro (1+100) 7:00 @ 20CMinolta Dynax 600si Classic - Minolta Zoom AF 28-80mm 1:4-5.6 - Derev Pan 400 @ ASA-320 - Zone Imaging 510-Pyro (1+100) 10:00 @ 20C (Constant Rotation)Rolleicord Vb (Type-2) - Schneider-Kreuznach Xenar 1:3.5/75 - Kosmo Foto Mono 100 @ ASA-100 - Zone Imaging 510-Pyro (1+100) 7:00 @ 20C

Like anything related to photography it all comes down to personal taste. The best thing you can do is to get together a good collection of developers that will suit not only the film stocks you regularly use but also how you want your images to look. There is some wisdom in picking a single developer and film stock, I'm more one who has a set list of films to use for any situation and then picking the right combination. Now this comes from developing my B&W film at home and fine tuning my process, so it will be worthwhile to keep detailed notes so that you know what you like and what you dislike. You can check out all my past developer reviews to help get you started on your development journey.

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Camera Review Blog No. 143 – Nikon FE2

I remember the first time I learned about the Nikon FE2; it was one of the early episodes of the Film Photography Podcast, I can't remember which episode it was initially, but I do remember talking to him about the camera when I met up with him at one of the FPP recording sessions back in 2011. The camera didn't particularly interest me; I still had my Nikon F3. But the camera stuck in my head. And even though I have an FE, the FE2 is an excellent addition to the stable as it is a newer camera, a faster shutter, and the viewfinder is one of the brightest in my entire kit.

The Simple FE2 surrounded by a selection of manual focus Nikkor lenses.

Camera Specifications
Make: Nikon
Model: FE2
Type: Single Lens Reflex
Format: 135 (35mm), 36x24mm
Lens: Interchangable, Nikon F-Mount
Shutter: Electronic Titanium vertical-travel focal plane shutter, 8″ - 1/4000″ + Bulb
Meter: TTL Centre-Weighted, 2x Silicon Photo Diode sensors, EV1 ~ EV18 @ ASA-100, ASA-12 - ASA-4000
Year of Manufacture: 1987-2001

Background
Nikon, from the start, had been known for their mechanical offerings. The game-changing Nikon F introduced the idea of a system camera to the SLR and professional photographer market in 1959. The F, despite its flaws, proved a commercial success and the follow-up Nikon F2 in 1971 proved equally successful. But Nikon also produced an equally successful consumer line of cameras, the Nikkormat line. First released in 1965, the Nikkormat FT, FTn and FT2 were heavy-duty mechanical cameras that could use the same lenses as their professional cameras and included a built-in light meter system. But in 1972, Olympus decided to change the game and introduced the Olympus OM-1. The OM system took the idea of an SLR but downsized it, creating a compact but full-featured SLR. Plus, the rise of electronics and semi-automatic exposure control is coming out of Canon and Minolta. Nikon's answer was the Nikkormat EL. Released in 1972, the EL took advantage of the Copal Square shutter allowing for both manual and aperture priority exposure metering. Nikon released an updated version, the EL2, which could accept the new AI lenses and replaced the CdS cells with Silicon Blue Cells for metering. The Nikkormat EL2 and partner Nikkormat FT3 were short-lived as Nikon decided to create a more unified look to their cameras. Taking a new smaller chassis size, and dropping the Nikkormat name, the FT3 became the Nikon FM and the EL2 became the FE, released in 1977 and 1978 respectively. And while the new lineup of cameras was successful in the market, the research team at Nikon were already looking towards the future. Canon's A-1 introduced the idea of an electronic program mode and Olympus OM-4 with an early form of matrix metering. And there was also the matter of producing a faster top shutter speed. In 1982 Nikon released their new FM2, which featured a shutter with a top speed of 1/4000″ through the use of titanium for the shutter curtain. The Matrix meter, a system that used twenty-four SPD cells fed into a single chip, or Automatic multi-program Chip (AMP), combines that with the new faster shutter that was supposed to be the FE2. Instead, that went into the Nikon FA and the FE2 came out in 1987 with the same semi-automatic exposure as before but with the faster shutter. The Nikon FE2 proved a capable camera with new interchangeable focusing screens and a bright viewfinder; Simultaneously, it retained the same match-needle readout; some LEDs in the viewfinder indicated any EV adjustment. Nikon produced only two versions of the FE2, a chrome and a black version, and no special editions or variants were released. Production of both the FE2 and FM2n ended in 2001, but the body style saw a revival with 2006's Nikon FM3a and the influence is seen with the Nikon D f.

Nikon FE2 - AI-S Nikkor 35mm 1:2.8 - Ilford HP5+ @ ASA-400 - LegacyPro L110 (1+31) 6:30 @ 20CNikon FE2 - AI-S Nikkor 35mm 1:2.8 - Ilford HP5+ @ ASA-400 - LegacyPro L110 (1+31) 6:30 @ 20CNikon FE2 - AI-S Nikkor 35mm 1:2.8 - Ilford HP5+ @ ASA-400 - LegacyPro L110 (1+31) 6:30 @ 20CNikon FE2 - AI-S Nikkor 35mm 1:2.8 - Ilford HP5+ @ ASA-400 - LegacyPro L110 (1+31) 6:30 @ 20C

Impressions
If you're familiar with any of the compact series of Nikon SLRs, then the FE2 will be a familiar sight. These are classic and iconic cameras and probably some of the most handsome of all the Nikon's in its simplicity. Probably the most significant and most visible change is the inclusion of the camera model on the front of the camera. While the FE was a small engraving on the camera's rear, the FE2 shouts it loud and proud in the typical block Nikon font that carries on to this day on some models. Most FE to the FE2 is internal, with some external differences. One of the first things you'll notice about the FE2 is that there's no more battery check leaver and light. The second is that the film speed dial has been improved; no more tiny hard to press buttons are needed to release the lock. Instead, you have the traditional lift and turn interface. The small button is still there, but it's far easier to push and control the EV compensation, with settings for +/- two stops in 1/3 stops. The shutter release is also enlarged and is surrounded by a metal collar. Beyond that, all the other controls are the same as the original FE. Internally the camera is entirely different with improved metering, a faster shutter with a top speed of 1/4000″ and a shutter sync speed of 1/250″, which also acts as the mechanical backup for the FE2. The FE2 will also accept both the MD11 and MD12 motor drives, and the hot shoe will accept proprietary Nikon flashes for TTL metering.

Experiences
If you've worked with Nikon's previous compact SLR offerings, then the FE2 will be a familiar camera. There's no learning curve with these cameras; you can immediately pick one up and know what to do. Probably the most significant improvement over the FE is the big bright viewfinder; I would probably say it's close to 100% coverage and on the same level of brightness as my Minolta Maxxum 9. Even with the grid focusing screen, the FE2 is easy to focus on in almost any lighting condition. The one thing that I find interesting is that they stuck with a standard needle style display for the metering, although the EV adjustment is displayed by LED. Film loading is quick and easy, and having that nice short throw on the film advance helps if you need to shoot fast but don't want to have that MD-12 installed. Once you're in the field, the camera becomes an extension of your hands. It almost becomes transparent, allowing you to focus on image creation. While it is aperture priority metering, I usually find I set the aperture and then have fun; the viewfinder makes things easy with everything I need visible. And then, as Nikon said with the D f , nothing but pure photography. I don't like anything about the FE2, no quirks or oddities. Honestly, it's probably the closest thing to a perfect camera that I've come across. Rewinding is quickly done once the film is done, and mounting the lens requires no special dance.

Nikon FE2 - AI-S Nikkor 35mm 1:2.8 - Eastman Double-X @ ASA-100 - Ilford Ilfotec HC (1+63) 8:00 @ 20CNikon FE2 - AI-S Nikkor 35mm 1:2.8 - Eastman Double-X @ ASA-100 - Ilford Ilfotec HC (1+63) 8:00 @ 20CNikon FE2 - AI-S Nikkor 35mm 1:2.8 - Eastman Double-X @ ASA-100 - Ilford Ilfotec HC (1+63) 8:00 @ 20CNikon FE2 - AI-S Nikkor 35mm 1:2.8 - Eastman Double-X @ ASA-100 - Ilford Ilfotec HC (1+63) 8:00 @ 20C

Optics
Like any manual focus Nikon camera, the available optics are near legendary. The best options for the FE2 are any AI or AI-S lens in manual focus; these will pair perfectly with your FE2. In a pinch, any AF Type-D lenses, those with the aperture ring, will work perfectly on your FE2 also, although focusing might be tricky. Depending on the focusing screen on your camera, you will want a lens that has decent resistance to your focusing ring. I find that the focusing rings are a bit too loose for a focusing screen without a split prism on the autofocus lenses. And with the size of the camera, a longer lens without having a motor drive may throw off the balance of the camera. One thing to note is that Nikon dropped compatibility with pre-AI lenses between the FE and the FE2; your follower lug is fixed in place and can't be flipped up. Mounting your pre-AI lenses could cause damage to your camera. If you're starting your manual focus AI/AI-S lens kit for an FE2, a good starter kit includes a Nikkor 28mm f/3.5, Nikkor 50mm f/1.8 (Pancake), and Nikkor 105mm f/2.5. If you're looking to expand your equipment, maybe the Nikkor 24mm f/2.8, Nikkor 35mm f/2.8, and Nikkor 200mm f/4 will expand your capabilities.

Nikon FE2 - AI-S Nikkor 50mm 1:1.4 - Fujifilm Neopan Acros 100 @ ASA-100 - Ilford Ilfotec LC29 (1+19) 5:00 @ 20CNikon FE2 - AI-S Nikkor 50mm 1:1.4 - Fujifilm Neopan Acros 100 @ ASA-100 - Ilford Ilfotec LC29 (1+19) 5:00 @ 20CNikon FE2 - AI-S Nikkor 50mm 1:1.4 - Fujifilm Neopan Acros 100 @ ASA-100 - Ilford Ilfotec LC29 (1+19) 5:00 @ 20CNikon FE2 - AI-S Nikkor 50mm 1:1.4 - Fujifilm Neopan Acros 100 @ ASA-100 - Ilford Ilfotec LC29 (1+19) 5:00 @ 20C

Lowdown
Yes, it is easier and cheaper to purchase an original FE but hear me out. The FE2 is a newer camera and fixed and improved upon the original FE in several ways. And while you will be paying more for an FE2, they are certainly a more affordable option than the FM2(n) or FM3a and deliver the same level of accuracy in exposure and optical qualities. Overall the FE2 is a capable camera for anyone looking for a good aperture priority camera, maybe as a second body to an F3? Battery-wise, the FE2 uses the same LR44 and, despite driving both the metering system and shutter, last for a long time. And the FE2 can still be repaired by a knowledgeable repair person making it even better to purchase. On the used market, the FE2 runs from between 250$ to 350$. However, some are going for under 200$ and others for over 500$ making it surprisingly affordable compared to its mechanical cousin. Will I be getting rid of my FE? Probably not; I can always keep it as a backup to the FE2. Alternatively, it can be turned into a Presspan. But I can certainly see the FE2 becoming a common camera in my reviews and personal photography.

Video Review Coming - June 2022

Further Reading
Don't just take my word on the FE2, you can check out the reviews by other excellent camera reviewers!
Emulsive - Camera Review: The Nikon FE2
Casual Photophile - Nikon FE2: (Almost) My Favourite Nikon SLR
Ken Rockwell - Nikon FE2 Review
5050 Travelog - Nikon FE2 Review
Filtergrade - The Nikon FE2 Review
CameraGX - The Nikon FE2: one of the very best manual focus SLRs ever

#camerareviewblogs #camera #camerareview #campbellville #canada #eastmandoublex5222 #ecdruryschoolforthedeaf #fujifilmneopanacros100 #gear #ilfordhp5 #ilfordilfotechc #ilfordilfoteclc29 #legacyprol110 #milton #mountsburgconservationarea #nikkor #nikon #nikonfe2 #ontario #review

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.

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

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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

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