Today on awesome analog finds, we present to you this snapshot of a vintage vending machine that dispensed 620, 120, and 127 Kodak film rolls!
Once upon a time, film was the only way to go when one wanted to delve into photography. Equipment from cameras down to the films and chemicals used to develop them were widely available, so much so that there even used to be coin-operated vending machines that dispensed roll films!
KOSMO Foto Mono has to be one of those weird black and white films that I’m probably not understanding.
The film renaissance has given us a number of fantastic new film emulsions that we should all be supporting in some way or another, and for the sake of KOSMO Foto Mono I genuinely hope that everyone and their mother finds out about it. I’ve shot a number of photos with KOSMO Foto Mono loaded into my Hexar AF that I’m completely over the moon about. When it was first announced, there were photographers on the web coming out with pitchforks and stating that it was just a rebranded Fomapan film. Indeed, it is a new film stock produced by Fomapan and Stephen Dowling, the man behind KOSMO Foto Mono, says that this is only the start of what he’s going to be doing.
Kodak TMax P3200 is one of the more exciting things to happen in film in a while.
It started with Kodak teasing the new Kodak TMax P3200 on Instagram and Twitter. Much unlike Ektachrome, Kodak TMax P3200 is actually real and you can buy it immediately. Indeed, they brought it back from the dead as the black and white film world was severely lacking in any sort of variety when it came to high ISO black and white films. Of course there’s Delta 3200, but otherwise there is nothing else out there. The re-release of Kodak TMax P3200 was seen by many to be a very good move and insight into Kodak’s commitment to film photography. At the moment, it’s only available in 35mm, but that’s more than enough for many photographers.
Our favorite film point and shoot cameras are truly for every type of photographer.
Last week on our IGTV channel, we released a video on some of our favorite point and shoot film cameras. And if you’re not following The Phoblographer on IGTV yet, you really should be. This episode started with quite a funny joke – tune in to watch!
The Fujifilm Natura S is quickly becoming my favorite point and shoot camera.
When you look on the market, you’re going to find stuff like Contax T2 to be very pricey. The chances that you’re not looking for the Fujifilm Natura S are high. But, the Fujifilm Natura S potentially has a lot more going for it than you’d think. This small point and shoot is easily pocketable and despite its very compact size, it sports a 24mm f1.9 lens. Yes, that’s right; that’s one of the widest and fastest lenses you can get on a point and shoot. It also comes in a variety of colors like green, the pink that I’ve gotten a hold of, and there is a variant called the Fujifilm Natura Black. There is also a version with a zoom lens simply called the Fujifilm Natura. But the Natura S is really where it’s at; its simple interface and not serious look is going to guarantee that you take it with you everywhere.
In traditional school or the school of life, learning photography with 35mm film is fun at any age and will make you a better digital photographer as well.
While it’s hard not to see the endless announcements of new-better-bigger digital cameras and accessories, slowing down and rolling some film will help you become a better photographer faster than relying on a computer with a lens attached on the front. If you want to become a better photographer, make photographs. That means being present to what you want to create, shooting film, trips to the lab and making prints. If you have not shot film, the experience is both fun and liberating, free of notifications popping up, and that old camera smell when you hold it up to your face as well as just the overall experience can be therapeutic.
We’ve reviewed and tested every CineStill film emulsion in both 35mm and 120.
I like to think that CineStill had a fairly big part in the revival of analog film culture. Indeed they did something no one else was doing and even today no one else really does. Yet in many ways, what CineStill does is something that has been around for years. The company takes movie film stock, modifies it to be developed with standard film development processes, and cuts it for photographers. It has resulted in some film emulsions that are incredibly unique if not the most unique on the market. By and large, they’re one of my personal favorite film manufacturers. Over the years, I’ve reviewed all their film emulsions and am now providing a comprehensive guide to their film.
Fujifilm Velvia 100 isn’t as appreciated as Fujifilm Velvia 50, but it should be!
Here’s one of those stories and moments that I’ve said all too many times when it comes to film and film photography; over and over again I was told that Fujifilm Velvia 100 isn’t worth the money or the hassle. But instead, Velvia 50 was where it was at and there was no exception to that rule. In my re-education of film photography, I found many of the things that photographers said over the years to be simply untrue. Kodak Tri-X isn’t the end all and be all of film photography. Velvia 50 isn’t the end all and be all of landscape photography either. But instead, Fujifilm Velvia 100 is a really, really solid film. It’s gorgeous in so many ways but like all film emulsions, it shines the larger you go.
Ilford FP4 Plus 125 is one of the more unique films on the market.
Since learning about what it could do years ago, I’ve had an affinity for Ilford FP4 Plus 125, but also understood that it isn’t a jack of all trades type of film. Instead, Ilford FP4 125 is what I’d like to call a film that you’d try to shoot high contrast with, but with the knowledge that the shadows are going to be opened up no matter what. In fact, that’s really what this film is all about. You’re often encouraged to underexpose it to get more from the highlights and have the shadows be taken care of in the processing. Available in both 35mm and 120 film stocks, Ilford FP4 125 can be really beautiful in the right hands. While I may instead reach for CineStill bwXX for portraits, I’ve found Ilford FP4 Plus 125 to be best for things like street and abstract, architecture photos.
Developing your own films at home could be easier if you have an “assistant” like “The Developist.”
Home developing is a relatively easy task that gets easier once you get the hang of it. But of course, if there’s something that can make it easier right off the bat, we’d all take it. We always tip our hat for anyone brave enough to put together their own tools, processes, and even machines to make home developing easier and more sophisticated. Today, we’re sharing an interesting prototype for a home developing assistant called “The Developist” with our film photographer readers.
The MiNT InstantKon RF70 is a truly revolutionary instant film camera that has been long overdue.
I’ve been playing with the MiNT InstantKon RF70 for a while now, purposely taking my time with it in order to ensure that I didn’t miss anything. This camera is, in my opinion, the most important instant film camera to have been released in the past few years. It makes use of the less popular Instax Wide format, and it also allows the photographer to have full manual control over the image. The MiNT InstantKon RF70 has a lens with aperture controls and manual focusing utilizing a rangefinder. There is a light meter built in, and the camera is overall pretty lightweight and compact. There isn’t a whole lot to complain about thus far, except for a few things that really concern me.
In the past couple of years, film emulsions have been experiencing a bit of a revamp. Some have disappeared while others have been either resurrected or created. With that in mind, it’s time for a brand new guide to these emulsions.
In this guide I will be comparing every 100 (ish) speed, black and white film which is actively being produced and readily available to the U.S. market in mid 2018, with the goal to help those of you who are new to film photography figure out a film which might be right fit for you.
While this guide is probably going to be most helpful for beginning film photographers, I’m hopeful that more experienced film shooters will also find this guide valuable and interesting. Due to the nature and scope of what we’re tackling here, this isn’t going to be a super short video. So here are some timestamps to help you navigate the portions you may find most interesting.
The Kodak Scanza is a simple to use scanner with a few quirks.
I’ve reviewed options like the Kodak Scanza before that I wish were higher in quality, but what you’re getting for the most part isn’t really all that awful. It takes your 35mm film and can deliver up to 22MP JPEG files. If you want TIFFs or DNG files, then you’ll need something significantly higher end that is bound to take up more real estate on your desk. But if you just want to scan your photos, it’s seriously tough to beat the Kodak Scanza. It works via a simple interface that takes your film, gives you an immediate preview with color corrections, and allows you to scan by simply pressing a button. These images are then put onto an SD card or onto your computer directly. This all sounds fantastic, except that the Kodak Scanza suffers from a few design issues that are holding back my highest recommendations.
Ilford Delta 3200 vs Kodak TMax P3200 is the film comparison we need right now
In the analog film world, there are two big high ISO black and white films in existence: Ilford Delta 3200 and Kodak TMax P3200. They’re both much different films, but they’re also both black and white. It recently came to our attention that folks would love to see some sort of comparison of both. And so we decided to go through our archives of testing to bring you some of our thoughts.
The Fujifilm Instax Square SQ6 is perhaps my favorite Instax camera of theirs made thus far.
With the Fujifilm Instax Square SQ6’s arrival on the scene, Fujifilm I feel has created a respectable Instax Square camera. When the SQ10 was released, I was very hesitant. I’m not a fan of a digital photo being printed onto an Instax frame from the camera. By and large, I prefer full pass through of light through the lens to the film plane. Somehow, Fujifilm was able to create it in a compact form factor that is also very stylish. In many ways, the Fujifilm Instax Square SQ6 is what the Instax Mini 90 is but with the Square format.
Could the MiNT InstantKon RF70 be the most important camera in the history of Instax?
The previously stated sentence is one I’ve had in my mind for quite some time now: I genuinely have been mulling over the new MiNT InstantKon RF70. This is the first camera to give the photographer full control over shutter speed and aperture in addition to providing the photographer with a working meter while using Instax Wide film. It still baffles me why it took this long for the RF70 to happen. I’m sure that others are going to try to copy this; but the MiNT InstantKon RF70 is the single camera I’ve been wanting for years and am incredibly excited about it. When MiNT sent it over to me for reviewing, I was overjoyed.
DUBBLE Film Sunstroke is a sunkissed film emulsion with beautiful light leaks.
For years, photographers tried to negate or reduce the effect of light leaks on their film; but we began to embrace it after some time and now we’ve got DUBBLE Film Sunstroke. This film is a Kodak emulsion that has had light leaks hit it in just the right spots. Your images will otherwise come out completely normal except that they’ve got these light leaked patterns on them. This isn’t new (pre-exposed film) and other cool effects have been around for years. But it’s only since the start of the Analog Renaissance did we actually try to do this again.
Silberra creates a pretty beautiful lineup of films, but nothing that is too starkly different from the rest
I have to admit that I’m really excited when a new film manufacturer pops up or a company announces a new film emulsion. Silberra is a key example of this. The company has an ISO 50, 100, 160, and 200 film in black and white. Something that I was really concerned about though is just how they were going to distinguish themselves from all the rest. I mean, when Japan Camera Hunter Street Pan 400 came out, I was able to see how it stacks up against the rest. It’s a much different film which means it should be used differently. Kodak has Tri-X and T-Max, Lomography has the Grey series, and Ilford has an incredibly large stable of black and white film emulsions. So with Silberra, there needed to be something incredibly special about their film.
Lomography Redscale XR 50-200 is an odd, but pretty cool film
For years I’ve walked into Lomography’s shop and looked at Redscale XR 50-200 with disdain. I’d wonder why any hipster would want to try something like this! But then I tried it myself, partially out of curiosity, part out of needing to do this review, and part out of just trying to understand it. Lomography Redscale XR 50-200 is a film that you expose anywhere between ISO 200 and 500: the results depend on how you expose the film. Some are more normalized, others more random and super orange tinged. While proper photographers may not love it, ordinary folks think it’s pretty darned cool and fun.
Perhaps that’s all this film was developed for.
CineStill bwXX film is gorgeous in so many ways
I’ve forever been on the hunt for a black and white film I’m truly, madly in love with. While the Ilford Delta lineup of film is more my taste, CineStill bwXX comes really close! I can’t find any major fault with CineStill bwXX: it’s more or less a film designed for cinema and repackaged for 35mm still film camera consumption. Photographers who want the look of classic old time cinema may really enjoy what CineStill bwXX offers. Is it sharp? It can be. Is it grainy? Oh yeah. Does it have those deeply inky blacks I enjoy? Heck yes. In fact, photographers who like to max the contrast of their images after a black and white conversion will really enjoy CineStill bwXX. The film also pushes decently well and most of all, I feel like it has a distinct look vs Kodak T-Max, Tri-x, and much of what Ilford offers. Oh yeah, and CineStill recommends rating it between ISO 200-400: but I’ve pushed it to 800 with decent results too.
The Leica M4-P is one of the most beloved Leica cameras and it isn’t too expensive either!
If you ever happen to stumble on a deal like I did with the Leica M4-P, then snag it as soon as you possibly can. In many ways, the Leica M4-P is one of the most perfect analog cameras. Although the Leica M6 goes a step further and incorporates the inclusion of a working light meter while allowing the camera to operate completely and totally mechanically at all shutter speeds, the Leica M4-P is essentially the Leica M6 without a light meter. And if you’re like me, you don’t always need a light meter because you’ve shot so often that you know and understand how Sunny 16 works, or you’ve got an app on your phone that will help you figure out your lighting with ease.
