RNI Films All Films 4 Lite Gets a Big Update for Capture One 11

RNI Films All Films 4 Lite’s Update for Capture One 11 Brings New Film Simulations

If you’ve been a reader of this website for a while, you’ll know I’m a very big fan of RNI Films. By far, they’re the best film simulation option I’ve seen and used; and today they’ve updated their styles for Capture One 11. The new styles are designed to work with the algorithms and program better but it also brings with it both new clean and grainy films. For example, Fomapan 100 is now a simulation. Then there’s Fuji Sensia, two different types of Velvia, two different types of T-Max, and more. It’s pretty fantastic and I’m super excited about it!

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Review: Capture One Film Styles Extended (Capture One Pro Preset Collection)

Capture One Pro isn’t as preset friendly as Lightroom simply because of the fact that when photographers go to it, they really try to create and massage their own ideals of color into the photos. Afterall, that’s part of what it was designed for. But with the Capture One Film Styles Extended, you get a whole lot of that if you’re a film shooter. We previously reviewed the Capture One Film Styles preset pack, and honestly didn’t feel like it held up against real film. Granted, the images still looked good–though if you’re a film fanatic the way I am, you’ll want something close.

However, with Capture One Film Styles Extended, you get a lot more options. And this time around, the options get closer when it comes to colors though not totally when it comes to tones. And either way, it’s tough to create a bad photo.

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ADOX Expands Operations Announces Construction of New Factory for Agfa Film

ADOX Factory

After Agfa’s consumer imaging line of products folded and went into receivership, ADOX repurchased Agfa’s MCP, MCC, APX, and the entire line of Agfa Black & White, saving the film and processing for future photographers. With the purchase of the line of Agfa film and chemicals, ADOX was in need of a facility for production and distribution, which they purchased in 2006. A little over ten years later, ADOX has started construction on a new factory in Bad Saarow, Germany (near Berlin).

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Review: Japan Camera Hunter Street Pan 400 Film (Premium)

Before I begin this review of Japan Camera Hunter Street Pan 400 film, you should note that this is an addendum to my review on the Phoblographer. That initial review is free for everyone, but this one goes more in-depth and explores my relationship with the film over a period of nearly half a year. I’ve known about the film for a while now and Bellamy has been in constant contact with me about my results. The first time around that I had the development done, the scans weren’t so perfect. Bellamy recommends using Rodinal in its development process.

For that reason, this review is available only to subscribers of this website and can be had for as little as $15/year.

Now onto the review!

Japan Camera Hunter Street Pan 400 film is an exciting entry into the film photography world. It’s designed for street photography and is also designed to be nice and sharp. For the most part, it really is a sharp film. All of my testing has been with the Hexar AF–perhaps one of my favorite 35mm cameras of all time and perfect for capturing candid moments. So if you’re a street photographer looking to work with something different, then this is probably the film to get.

Street photographers will thoroughly enjoy this film in many situations though if you’re going to work with it, I recommend either:

  • Shooting it then pushing and pulling prints in the darkroom
  • Shooting it in manual mode and exposing your scene accordingly to the Sunny 16 laws of photography.

The big reason for this has to do with scanning. Higher end scanners can basically do what cameras did years ago to create an HDR photo: shoot a perfectly exposed photo, +1, -1, -2, +2 etc. Then it combines the image into a giant TIFF file for you to work with on a computer. but then in that case, you may as well be shooting digital in my personal opinion especially since these scanners use a small sensor typically.

But if you’re shooting Sunny 16 style, then you’re going to work to get it right in the camera in the first place which will result in scans that need little to no work at all.

This goes hand in hand with a few issues that I encountered with the film and using it. I shot a few rolls rated at ISO 400 like the film says. Then I shot one at ISO 800, one at ISO 1600, and one at ISO 200. If you know anything about films like Kodak Tri-X and T-Max, then you know that you can push it and pull it for forever because the film emulsion is just so incredibly forgiving when you work with it. In fact, many photographers that shoot black and white film tend to connote that with all black and white film to begin with. And they’re not wrong–but the best results still come in the darkroom with a solid print involving dodging and burning to get the results that you want.

In my tests, I’ve found that this film likes light–lots of it. In fact, if and when I reload it into my camera again I’m not going to rate it at ISO 400. I’m going to rate it at ISO 200 and perhaps develop for ISO 320. Part of this could be due to the fact that the Hexar AF’s metering system tends to take the highlights in mind knowing that you’ll be able to push the shadows.

As any street photographer knows though, lighting situations can change at a moment’s notice. So you can be shooting at ISO 200, 1/250th and f16 one second then when you walk into the shadow of a building you’ll need to greatly open up that aperture to probably around f4 or f2.8 depending on a number of variables in your scene and when trying to expose for your subject. This is honestly the best way that I’ve found one should use the film.

In all truthfulness, I don’t see this film as competition to Kodak Tri-X, Kodak T-Max, Fujifilm Acros, Fomapan 320, Delta 400, HP5, APX 400, etc. Instead, I see it as a film that can deliver a different look from all of them. Even down to the grain structure, this film looks different. Kodak Tri-X and HP5 tend to have the most pleasing film grain in my opinion but this film here embraces an even more raw and gritty look that a lot of street photographers tend to value. They find it romantic in a way.

There are other variables involved such as who is developing your film. It’s fairly common knowledge that labs tend to put their own subtle twist on how to develop film so that they can keep customers and find a way to stand out from all the rest of the film labs out there. Here in NYC I’ve used Lomography, Color Resource Center, Walgreens and Kubu’s Film Lab most notably and for black and white I tend to want to go to Kubu’s in Greenpoint, Brooklyn. But for Color, I tend to go to Lomography.

When you find a lab that you like, I recommend sticking with it.

Overall though, Japan Camera Hunter Street Pan 400 is a very nice film emulsion. Street photographers are surely going to love it if they enjoy the deep black and white look. For me personally though, I want even more contrast that I believe only chromogenic film can give me. Inky blacks are what I love and they also force me to get my exposures spot on–and that whole thought process is part of what makes shooting film a million times more enjoyable.

If you’re going to use the film, I strongly recommend rating it at ISO 200 and developing for ISO 320–which is a common method used when working with Kodak Portra 400. This film likes a lot of light. So with that said, I really don’t recommend using it for something like concert photography. However, street photography, landscape photography, portraiture, etc are more adequate because the lighting situations are much more predictable and the film is less forgiving than others out there. Ilford Delta 3200 may be what you’re looking for instead when shooting concerts.

Very personally speaking, I’d personally probably reach for this film when shooting street photography though I’m sure that I’d be happier with something like Ilford HP5.

Those are just my findings though.

5 Beautiful Slide Film Emulsions You Can Still Get Your Hands On

It’s a sad thing that chrome film isn’t really available in the same way it used to be. Of course, this is because it’s tougher to work with vs negative film. But if you take the time to really work with it, you’ll be rewarded with images that have a unique character and look to them. Many professional photographers work with it and always did to get images and looks you can’t replicate. So if you feel brave enough and want to take the dive, check out these available slide films.

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Freestyle Photographic Dropped Their Prices on Rollei Film and Developer

Very recently, Freestyle Photographic sent out an email to their customers letting them know about some really super deals on Rollei film. In fact, the prices are better than anything I’ve been able to find on both Amazon and B&H Photo. So whenever I can, I’m all for supporting the little guy.

Not only are the price drops on film though, they’re also on development chemicals.

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Review: Agfa APX 400 B&W Film

Agfa APX 400 is a newer emulsion of an older Agfa film stock; and you can still get your hands on the older emulsion – but it’s quite rare. This review today is specifically utilizing the newer emulsion that is easily attainable through Amazon or other places you can still find film. APX 400’s claim to fame is its incredible highlight retention, making it ideal for shooting in higher contrast situations, allowing you to weight your exposure more towards the shadows without having to worry about totally killing your highlight detail.

I set out with two rolls of APX 400 and my trusty Pentax K1000 to see what this film could do. As far as lenses go, I mostly shot with the SMC-M 50mm F/1.4, but I also used the SMC-A 28mm F/2 and SMC-M 135mm F/3.5 for some shots as well.

 

 

 

 

 

Review: Agfa APX 400 Film (35mm)

Agfa APX 400 film

As often as I can, I want to get into reviewing films. I’m not necessarily talking about the well known films like your Portra, your Tri-X, your Delta 400–but the lesser known and lesser talked about rolls of film. Upon going to the Lomography store here in NYC, a rep there who knows me told me about Agfa APX 400. It’s a rather interesting film–one that retains highlights well so you generally need to overexpose for the shadows.

Now, there were two different ones: the older emulsion is really tough to get your hands on. The newer emulsion will remind you a lot of many Instagram, VSCO and EyeEm filters. Being a black and white film, you’ll also surely have a lot of fun with it.

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John Werle’s Abstract Film Snow Drift Photos

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All images by John Werle. Used with permission.

Photographer John Werle hails from Western Canada, and started in photography when he was going back to university, after a year off, and, naively, thought he needed a creative outlet. “My father had an early auto-exposure Zeiss, which always frustrated him because he could never remember how to use it the once or twice a year he pulled it out.” says John. “I started using it, in spite of its limitations, but progressed as soon as I could to a Canon Ftb, which was my first serious camera.”

Film and working in the darkroom would become a love of John’s. He was always into shapes, forms, curbes, shadows, lights, etc.

Because of his environment, he was always intrigued by the snow drifts. “After a particularly heavy snow, driven by strong winds, I had a location in mind and it proved to be even better than I had anticipated.” says John. “That was the genesis for this series, as I hoped to capture the sensuous shape and form of the drifts.”

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Review: VSCO Film 07 – Eclectic Films (LR)

Kodak Ektar 25 Warm

Kodak Ektar 25 Warm

In the pantheon of film emulation software, the first name you probably think of VSCO, and for good reason. VSCOCam is one of the most popular editing apps for iOS and Android, and for Lightroom, Adobe Camera Raw and Photoshop users, they’ve got a line of film packs that, up until this point, have offered well-known and oft-used films. Now, they have Film 07 – Eclectic Films, a ragtag collection of clean-looking presets. There are well over 100 presets across 18 films, some color, some black-and-white, and some tungsten-balanced. The company bills them as ideal for “portraits, night photography, and architecture,” but they’re good for more than that.

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VSCO Goes Off the Beaten Path with Film 07 – Eclectic Films

Fuji T64

Fuji T64

VSCO’s got a new batch of presets for the 7th iteration of its film emulation software for Lightroom, and the results are decidedly eclectic. There are 17 films that come with VSCO Film 07 – Eclectic Films: 10 color films (Agfa, Fuji, Kodak), 3 black & white (Ilford, Kodak), and 4 Tungsten (Fuji, Kodak). We managed to get an early look at this latest installment, and the films are largely a thing of the past. That is to say, they don’t exist anymore, but VSCO’s managed to keep them alive in digital form.

A complete list of films and sample images are available after the jump. A comprehensive review is in the works.

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Agfa CT Percisa is Back in Stock at Lomography for Blue Sky Lovers

Lomography Agfa CT Precisa 100 Film product image 1

Back by popular demand, Lomography has a new stock of Agfa CT Percisa 100 film. The 35mm color slide film is designed to help shooters capture rich, deep blue skies without overlaying the entire image with a cool blue filter allowing the film to produce render warm colors as well. At the same time the film can resolve nice and sharp details. Another advantage of the Agfa CT Percisa film is it creates extremely fine outlines at every gradations of light and shade making cloudy skies pop with a unique look.

For a small history lesson Agfa films originally come from a small Germany company started in 1867 that has as strong ties to medical imaging systems as it does photography. Eventually the company folded and when into bankruptcy in 2004. A surviving branch continues to produces film for aerial photography.

Agfa also sold may of its remaining coated film rolls to Ferrania, a third party supplier of consumer film to many others selling under their own name. Meanwhile, Agfaphoto film is also produced by Fuji in Japan, Kodak in Mexico, and Lucky in China; so the film could have come from any of these companies.

As with most things in the film world the Agfa brand become diluted and attached to completely different types of film. Lomography stock itself has even been rumored to carry the same film chemistry as Afga, which would explain the rich color tones of many of the company’s film stocks.

You can pick up a roll of Agfa CT Precisa for $8.90 a piece. Check past the break for more images taken with the film.

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DxO Filmpack 4.5 Introduces Kodak Ektar and Agfa Scala 200x

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DxO’s Filmpack has won many awards; rightfully so too. It’s probably the best film rendering product there is out there despite VSCO catching up. To offer even more options to their users, the company announced their Filmpack 4.5 upgrade. The update includes new presets which users might experiment with for the pure fun of them, a tone curve, and a way to adjust frame and light leak settings.

But by far the most important part of the update is the addition of Kodak Ektar 100 and Agfa Scala 200x. Ektar is a film that still has quite a following though it isn’t as valued as Portra.

Filmpack is used by many portrait photographers, wedding photographers and loads more. The interface and renderings lean more towards the technical side of the crowd while VSCO is more for artists that want simple presets. And if you’re a Lightroom user, they recently added in full integration with the program.

You can head over to DxO’s store and check out their discounted prices.