Developer Review Blog No. 54 – Fujifilm Microfine

While I've always known that Fujifilm produces chemistry for film development, I had always assumed it was primarily aimed at colour processing. Since they still manufacture (possibly) mini-lab processing systems for labs to develop C-41. But black & white chemistry? Then I received an email. A reader graciously offered to mail me some developers that were difficult to obtain in North America. I initially thought of Europe, but then a lovely package arrived from Japan and inside were two pouches of Fujifilm Microfine and two pouches of Fujifilm SPD. Well, I was touched, but Microfine was a name I had seen before on the massive dev chart. And no, it's not a different version of Microphen. From what I've gathered, Microfine was released between the late 1970s and early 1990s with the new series of T-Grained Neopan films, Neopan Acros 100, Neopan 400 and Neopan 1600 as the matched developer. While all these films have since been discontinued the only listed time on the pouch is for Acros 100 II. These days I'm unsure if the developer is still being produced, but since it is still being listed as in-stock at various Japanese retailers, I'm going to assume that it is.

Technical Details
Manufacturer: Fujifilm
Name: Microfine
Primary Developer: Metol
Type: Reusable/One-Shot
Mix From: Powder

Nikon F5 - AF Nikkor 35mm 1:2D - Eastman Double-X 522 @ ASA-100 - Fujifilm Microfine (1+1) 8:00 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Eastman Double-X 522 @ ASA-100 - Fujifilm Microfine (1+1) 8:00 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Eastman Double-X 522 @ ASA-100 - Fujifilm Microfine (1+1) 8:00 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Eastman Double-X 522 @ ASA-100 - Fujifilm Microfine (1+1) 8:00 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Eastman Double-X 522 @ ASA-100 - Fujifilm Microfine (1+1) 8:00 @ 20C

Handling
If you have mixed other powdered developers, then Microfine will be no different. Sadly, I was only able to extract some information from the package itself and ran the text through a translator to obtain any relevant details, as there is no online English language datasheet available. Start with 800mL of distilled water heated to ~50°C (122°F). Then, add the powder, mixing it using either a manual or mechanical method at slow speeds once the powder is mostly dissolved. Top up to the final volume of one litre and store in a well-marked bottle. The developer mixes up quickly and easily in the hot water and leaves little in the way a undissolved powder. But I still use a funnel and fine-mesh strainer when pouring the stock solution into the storage bottle. Fuji also warns against dividing the powder, recommending that you mix the entire pouch in one go. The powder ideally has an unlimited shelf life; once mixed, I would rate it at ~6 months in a fully sealed bottle, with a shorter shelf life once you start diluting the mix. The one-litre volume will process eight rolls of 35mm film or the equivalent number of medium and large format films. You can develop using the developer in stock form, reusing it for the set number of rolls, or you can dilute it 1+1 as a one-shot developer. You can also use Microfine with both manual and automatic processing methods with little change in the results.

Canon EOS Elan 7 - Canon Lens EF 28mm 1:2.8 (Yellow-12) - Fujifilm Neopan Acros 100 II @ ASA-100 - Fujifilm Microfine (Stock) 8:00 @ 20CCanon EOS Elan 7 - Canon Lens EF 28mm 1:2.8 (Yellow-12) - Fujifilm Neopan Acros 100 II @ ASA-100 - Fujifilm Microfine (Stock) 8:00 @ 20CCanon EOS Elan 7 - Canon Lens EF 28mm 1:2.8 (Yellow-12) - Fujifilm Neopan Acros 100 II @ ASA-100 - Fujifilm Microfine (Stock) 8:00 @ 20CCanon EOS Elan 7 - Canon Lens EF 28mm 1:2.8 (Yellow-12) - Fujifilm Neopan Acros 100 II @ ASA-100 - Fujifilm Microfine (Stock) 8:00 @ 20CCanon EOS Elan 7 - Canon Lens EF 28mm 1:2.8 (Yellow-12) - Fujifilm Neopan Acros 100 II @ ASA-100 - Fujifilm Microfine (Stock) 8:00 @ 20C

Applications
The number one application for Microfine is to develop your Neopan films, these days that is a single film stock, Neopan Acros 100 II, but if you have some of the original Acros 100 along with Neopan 400 and Neopan 1600 there are listed times for those as well on the Massive Dev Chart. Sadly there's no easily available datasheet so I have no real information beyond what I can find online. From what I have been able to discover, Microfine is designed to deliver both fine-grain and excellent sharpness on a variety of films delivering either full box speed or seeing a slight speed reduction (in faster films) or an increase in slow films. While designed for T-Grain emulsions where it does shine, especially with Acros II and TMax 100, it also delivers clean useable results with traditional cubic films. You can see that here with the slight drop to ASA-320 in the Kentmere 400 roll and the increase with RPX 25 (originally the time I found was for Retro 80s, but RPX 25 is based on the same film stock so there's that). If you have a lot of older Neopan films floating around, a pouch or a few might be worthwhile to pick up for best results especially with your Neopan 1600.

Mamiya m645 - Mamiya-Sekor C 35mm 1:3.5 N - Kodak TMax 100 @ ASA-32 - Fujifilm Microfine (1+1) 11:30 @ 20C (Constant Rotation)Mamiya m645 - Mamiya-Sekor C 35mm 1:3.5 N - Kodak TMax 100 @ ASA-32 - Fujifilm Microfine (1+1) 11:30 @ 20C (Constant Rotation)Mamiya m645 - Mamiya-Sekor C 35mm 1:3.5 N - Kodak TMax 100 @ ASA-32 - Fujifilm Microfine (1+1) 11:30 @ 20C (Constant Rotation)Mamiya m645 - Mamiya-Sekor C 35mm 1:3.5 N - Kodak TMax 100 @ ASA-32 - Fujifilm Microfine (1+1) 11:30 @ 20C (Constant Rotation)Mamiya m645 - Mamiya-Sekor C 35mm 1:3.5 N - Kodak TMax 100 @ ASA-32 - Fujifilm Microfine (1+1) 11:30 @ 20C (Constant Rotation)

Qualities
Let's get one thing out of the way first: Microfine has produced some of the best results I've seen with Acros 100 II, hands down. There's almost no grain visible on many of these rolls, mainly with the TMax 100 and Acros 100 II images; I would hate to be in the darkroom having to focus on the grain. Microfine also handled the traditional grainy films, such as RPX 25 and Double-X, which I shot at ASA 100, and it produced amazing, near-grain-free results. I did see some visible grain with the Kentmere 400 but that stock have a much coarser grain yet still yielded amazing results. But don't let the lack of grain fool you; the images still came in sharp. What helps with that is the amazing tonal response you get from the film stock. It shows off the compensating nature of Microfine as I only shot one roll at box speed, and that was Acros II. Then, for two rolls, I had to adjust the EI to use Microfine and the TMax 100. I purposefully overexposed the roll to ASA-32. In each case, I got amazing results. The RPX 25, which I shot at ASA-100, turned out amazing with a red filter, and I already enjoyed exposing Kentmere 400 at ASA-320. To be honest, it feels like cheating.

Nikon Nikkormat FT2 - AI Nikkor 28mm 1:3.5 (Yellow-12) - Kentmere 400 @ ASA-320 - Fujifilm Microfine (1+1) 13:30 @ 20C (Constant Rotation)Nikon Nikkormat FT2 - AI Nikkor 28mm 1:3.5 (Yellow-12) - Kentmere 400 @ ASA-320 - Fujifilm Microfine (1+1) 13:30 @ 20C (Constant Rotation)Nikon Nikkormat FT2 - AI Nikkor 28mm 1:3.5 (Yellow-12) - Kentmere 400 @ ASA-320 - Fujifilm Microfine (1+1) 13:30 @ 20C (Constant Rotation)Nikon Nikkormat FT2 - AI Nikkor 28mm 1:3.5 (Yellow-12) - Kentmere 400 @ ASA-320 - Fujifilm Microfine (1+1) 13:30 @ 20C (Constant Rotation)Nikon Nikkormat FT2 - AI Nikkor 28mm 1:3.5 (Yellow-12) - Kentmere 400 @ ASA-320 - Fujifilm Microfine (1+1) 13:30 @ 20C (Constant Rotation)

Lowdown
The biggest problem with Microfine is that it is difficult to pick up outside of Japan. Thankfully you can pay for shipping from Japan to North America and they are timely. But as I mentioned in a previous paragraph, the only real application today is with expired Neopan films and Acros II to get the full value of the film. But also don't let that warning stop you from trying it if you can get some, it is an excellent developer all the same although limited in non-fuji film stock combos. When it comes to economy, a pouch costs around 4.50 Canadian, which even with shipping from Japan makes it fairly economical. While this wouldn't be a first choice for a standard developer, if you had a stash of Neopan films like Acros 100 (II) and Neopan 1600 that needed to be given the best possible chance, then it would be worthwhile to order several pouches and mix them up as you need them.

Minolta Maxxum 9 - Minolta Maxxum AF 20mm 1:2.8 (Red-25) - Rollei RPX 25 @ ASA-100 - Fujifilm Microfine (1+1) 11:45 @ 20C (Constant Rotation)Minolta Maxxum 9 - Minolta Maxxum AF 20mm 1:2.8 (Red-25) - Rollei RPX 25 @ ASA-100 - Fujifilm Microfine (1+1) 11:45 @ 20C (Constant Rotation)Minolta Maxxum 9 - Minolta Maxxum AF 20mm 1:2.8 (Red-25) - Rollei RPX 25 @ ASA-100 - Fujifilm Microfine (1+1) 11:45 @ 20C (Constant Rotation)Minolta Maxxum 9 - Minolta Maxxum AF 20mm 1:2.8 (Red-25) - Rollei RPX 25 @ ASA-100 - Fujifilm Microfine (1+1) 11:45 @ 20C (Constant Rotation)Minolta Maxxum 9 - Minolta Maxxum AF 20mm 1:2.8 (Red-25) - Rollei RPX 25 @ ASA-100 - Fujifilm Microfine (1+1) 11:45 @ 20C (Constant Rotation)

Recommended Reading
Don't just take my word on Microfine check out these other blogs on the subject!
No Other Reviews Found

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Film Review Blog No. 106 – ORWO Wolfen P400

Like last year's review of ORWO Wolfen NP100, ORWO Wolfen P400 is a version of ORWO N74+ but modified to better suit still-photography by removing the anti-halation layer. I had this film stock on my wish list and was able to find it last year through Freestyle. The one thing I also noticed is that there is a slight difference between the two film stocks to indicate that something else has been done to the film stock in the process of stripping that layer. Thankfully there is already a lot of existing times that are listed directly for P400. The first thing I noticed with the film is that it is all packaged in newer metal cassettes not the plastic ones that I encountered with my review of NP100, the second is how thin the film feels compared to past ORWO motion picture films.

Film Specs
Manufacturer: ORWO
Name: Wolfen P400
Type: Panchromatic Black & White
Film Base: Polyester
Film Speed: ASA-400, Latitude: +/- 2-Stops
Formats Available: 135 (35mm)

Roll 01 - Flic Film B/W Cine Film Developer
While P400 is modified to suit better photography, it is still, at its core, a motion picture film, so I'm starting off the review using the normal motion picture film developer, Kodak D-96, or in this case, the Flic Film produced version. Going with the stock dilution and dropping the time from my listed 6.5 minutes to 6.25 minutes to compensate slightly for exposing the film at ASA-320, the negatives looked thin but had good detail. And they scanned well, and with some adjustments in Photoshop, I'm pleased with these images. There's a good contrast, thanks mainly to the mixed light. I noticed the most that these images seemed a little soft, and the grain was a bit mushy but still present. That is more thanks to the developer rather than the film itself. I like this combination. It works well in these conditions and gives you a better feel for what the film can do than straight D-76.

Minolta Maxxum 9 - Minolta Maxxum AF 50mm 1:1.4 - ORWO Wolfen P400 @ ASA-320 - Flic Film B/W Cinefilm Developer (Stock) 6:15 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 50mm 1:1.4 - ORWO Wolfen P400 @ ASA-320 - Flic Film B/W Cinefilm Developer (Stock) 6:15 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 50mm 1:1.4 - ORWO Wolfen P400 @ ASA-320 - Flic Film B/W Cinefilm Developer (Stock) 6:15 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 50mm 1:1.4 - ORWO Wolfen P400 @ ASA-320 - Flic Film B/W Cinefilm Developer (Stock) 6:15 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 50mm 1:1.4 - ORWO Wolfen P400 @ ASA-320 - Flic Film B/W Cinefilm Developer (Stock) 6:15 @ 20C

Roll 02 - Ilford Ilfotec HC
The only available time for Ilfotec HC was a 1+31 dilution. I always preferred to develop motion picture films in 1+63, so I went ahead and shot the roll at the full box speed of ASA-400 and doubled the available time while knocking it back to compensate for the constant rotation in development. I also shot this roll under bright, challenging conditions and more mixed light under trees. I should have let these develop a bit longer, the negatives were rather thin, but I'd take thin negatives over dense ones. Sadly, these were too thin, but with a bit of work in the post, I was able to pull out some images. I'm not a fan, but they work, and I'm not too happy with them. First, there is a lot of grain and medium contrast, but the images are sharp. Now I understand that P400/N74+ is not a fine-grain film, but all the same, these are mushy and grainy. Two things happened here: under-exposed and under-developed. I should have exposed these at either ASA-320 or ASA-250 and developed normally. As for the under-development, I'm leaning towards my bottle of Ilfotec HC reaching the end of its life. Either way, Ilfotec HC can work as a developer, but you will want to over-expose your film between 1/3 and 2/3 of a stop.

Minolta Maxxum 9 - Minolta Zoom AF 24-105mm 1:3.5-4.5 D - ORWO Wolfen P400 @ ASA-400 - Ilford Ilfotec HC (1+63) 11:45 @ 20C (Constant Rotation)Minolta Maxxum 9 - Minolta Zoom AF 24-105mm 1:3.5-4.5 D - ORWO Wolfen P400 @ ASA-400 - Ilford Ilfotec HC (1+63) 11:45 @ 20C (Constant Rotation)Minolta Maxxum 9 - Minolta Zoom AF 24-105mm 1:3.5-4.5 D - ORWO Wolfen P400 @ ASA-400 - Ilford Ilfotec HC (1+63) 11:45 @ 20C (Constant Rotation)Minolta Maxxum 9 - Minolta Zoom AF 24-105mm 1:3.5-4.5 D - ORWO Wolfen P400 @ ASA-400 - Ilford Ilfotec HC (1+63) 11:45 @ 20C (Constant Rotation)Minolta Maxxum 9 - Minolta Zoom AF 24-105mm 1:3.5-4.5 D - ORWO Wolfen P400 @ ASA-400 - Ilford Ilfotec HC (1+63) 11:45 @ 20C (Constant Rotation)

Roll 03 - Rodinal
For my third roll and using Rodinal I decided to over-expose the film by one stop, shooting at ASA-200 then pulling in my development and using a 1+50 dilution with further reduction to compensate for constant rotation. And I thought the previous roll had a lot of grain, this one has even more! But I was prepared for it but on the plus side the images are sharp, the downside is that the contrast feels flat in some scenes but that could be more the lighting than the film. I don't enjoy high-contrast images and do like a low-contrast image but on cine-films I look for something middle ground, with character. And these images don't have that. Of course, I could always have played around with the contrast in post-processing and given the frames a bit more character.

Minolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - ORWO Wolfen P400 @ ASA-200 - Blazinal (1+50) 9:00 @ 20C (Constant Rotation)Minolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - ORWO Wolfen P400 @ ASA-200 - Blazinal (1+50) 9:00 @ 20C (Constant Rotation)Minolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - ORWO Wolfen P400 @ ASA-200 - Blazinal (1+50) 9:00 @ 20C (Constant Rotation)Minolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - ORWO Wolfen P400 @ ASA-200 - Blazinal (1+50) 9:00 @ 20C (Constant Rotation)Minolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - ORWO Wolfen P400 @ ASA-200 - Blazinal (1+50) 9:00 @ 20C (Constant Rotation)

Roll 04 - Adox XT-3
For the fourth and final roll I went with Adox XT-3, the Adox clone of Kodak Xtol using a 1+1 dilution. While I wanted to use 510-Pyro here, I went with an officially listed time. After seeing the trouble with the Ilfotec HC roll and the lovely results I got from B/W Cine developer, I went and exposed the roll at ASA-320 and developed normally. Upon pulling the negatives out of the tank, I was pleasantly surprised. The negatives did not look under or over developed and had good visible density on initial inspection. While these were certainly better than the second and third roll they still have problems, there's the compressed tonal range and despite being a fine-grain developer XT-3 did little to reduce the visible grain to something far more pleasing. Despite having high hopes for this roll I was still a little disappointed.

Minolta Maxxum 9 - Minolta Maxxum AF 20mm 1:2.8 - ORWO Wolfen P400 @ ASA-320 - Adox XT-3 (1+1) 9:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 20mm 1:2.8 - ORWO Wolfen P400 @ ASA-320 - Adox XT-3 (1+1) 9:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 20mm 1:2.8 - ORWO Wolfen P400 @ ASA-320 - Adox XT-3 (1+1) 9:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 20mm 1:2.8 - ORWO Wolfen P400 @ ASA-320 - Adox XT-3 (1+1) 9:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 20mm 1:2.8 - ORWO Wolfen P400 @ ASA-320 - Adox XT-3 (1+1) 9:30 @ 20C

Final Thoughts
Thankfully, the thinner base did not present any problems loading the film onto the reels, but I noticed that the film appears to be bulk-loaded rather than commercially loaded. I also noticed that the film tends to fog easily, so keeping it out of direct light is best. It could be because of the room's temperature, but I noticed a slight cupping when the film dried. All four rolls of the negatives came out thin, which made scanning difficult but not impossible. You could increase the development times by fifteen to thirty seconds to get added density and expose the film to your taste at either ASA-320 or ASA-250. It also doesn't surprise me that the best results from the film came from the roll developed in Flic Film B/W Cine Developer (Kodak D-96), and be ready to play around with the contrast in post-processing to get it where you want it. I'll be cautious in recommending this film; it isn't that P400 is a bad film; it takes a bit more effort to get good results, and you have to be willing to play a bit more in post-processing. This review warrants revisiting the film stock for a review (ORWO N74+) to see about getting it to a point where I'm happier with my results. What I think will help this film out the most is lots of good hard light.

Further Reading
Don't just take my word on P400, you can check out the reviews by other awesome camera reviewers!
Shoot Film Like A Boss - ORWO P400 Review

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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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Film Retrospective | 100 Reviews Special

This is only the second time I've reached a significant milestone in my ongoing reviews, the magic number of one hundred. And to be clear, I've done one hundred film reviews, not reviewed one hundred separate film stocks. And that's because I've reviewed some rebadged films; sometimes, I knew it was a rebadge and then made a point not to go after that film stock again, notability ORWO films. I reviewed the four motion picture-specific films from ORWO as their Lomography rebadge. But in the case of Fomapan 100, I reviewed that first as KosmoFoto Mono 100 and then again as Fomapan 100. Agfa AviFoto 80 has been reviewed many times under Rollei Retro 80s, Rollei RPX 25, Adox HR-50 and Adox Scala 50. So today, I will look back at the last 100 reviews and make a top list of some of my favourites, similar to what I did at the 100 camera review mark but slightly different.

Top Five Favourite Films
It's always hard to choose just one! But in these cases these are films that are still produced and readily available. They are also ones that I will always grab when I need to get the shot! Both for my personal and professional work. And yes, these days it is mostly Ilford on the list, which is interesting because when I started reviewing film stocks, it would have been dominated by Kodak.

Ilford FP4+
When it comes to a go-to mid-speed film, Ilford FP4+ is that film. It offers up everything I look for in this speed range, with excellent tonality, great latitude, classic grain and excellent edge sharpness. I was first introduced to FP4+ when Kodak discontinued Plus-X and I wanted something similar, and FP4+ was that film, even has the classic ASA-125 box speed. It's my goto for outdoor events, portrait work, and general photography. Plus I can use it in all my cameras from 35mm up to 4×5 and larger. And it handles any situation I throw at it when it comes to lighting, natural, artificial, high-contrast, low contrast. And you can over and under expose it and push/pull in development when the situation requires such a process. And it responds to ever developer I throw its way.

Minolta Maxxum 9 - Konica-Minolta Zoom AF 24-105mm 1:3.5-4.5 D - Ilford FP4+ @ ASA-125 - Tetenal Neofin Blau (1+9) 9:00 @ 20C (Constant Rotation)Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford FP4+ @ ASA-125 - 510-Pyro (1+100) 10:30 @ 20CMamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford FP4+ @ ASA-125 - Adox FX-39 II (1+9) 6:00 @ 20CPacemaker Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Ilford FP4+ @ ASA-64 - Pyrocat-HD (1+1+100) 8:00 @ 20C

Ilford Delta 100
While of a speed similar to FP4+, Delta 100 is the one film I take when I need something that looks sharp and modern. Thanks to the contemporary emulsion, I can achieve excellent results across all the formats. I started to enjoy Delta 100 with my original review set in 2015 when I began exploring the Ilford line of films and developers. And I'm glad I did; this spot would have been filled with Tmax 100, but I needed to find something similar with the cost increases. Also, Delta 100 works well with all the developers I use. It has become the go to film stock for my lens tests along with Delta 400. Now to see if I can over-expose it to ASA-32.

Nikon F5 - AF Nikkor 35mm 1:2D (Yellow-12) - Ilford Delta 100 @ ASA-100 - Fotospeed FD10 (1+9) 7:00 @ 20CModified Anniversary Speed Graphic - Schneider-Kreuznack Angulon 1:6,8 90mm - Ilford Delta 100 @ ASA-50 - Agfa Rodinal (1+25) 7:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford Delta 100 @ ASA-100 - Kodak HC-110 Dil. E 7:30 @ 20CBronica GS-1 - Zenzanon-PG 1:3.5 f=100mm - Ilford Delta 100 @ ASA-80 - SPUR HRX (1+20) 9:00 @ 20C

Ilford HP5+
You guessed it, another Kodak replacement. While I struggled for a while to come to love Ilford HP5+ in 35mm, I always enjoyed working with it in medium and large format. Probably my favourite combination across the board is shooting it at ASA-200 and developing it in Pyrocat-HD. But it works well in almost any developer, except Rodinal. Perfect when you need a fast shutter speed, offers up excellent latitude. Good tonality, edge sharpness, and a bit more visible grain but nothing too serious.

Minolta XE-7 - Minolta MD Rokkor-X 45mm 1:2 - Ilford HP5+ @ ASA-400 - Kodak D-76 (1+1) 13:00 @ 20CHolga 120N - Optical Lens f=60mm 1:8 - Ilford HP5+ @ ASA-400 - Ilford ID-11 (1+1) 11:00 @ 20C (Constant Rotation)Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford HP5+ @ ASA-1600 - Bellini EcoFilm (Stock) 11:00 @ 20C (Constant Rotation)Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Ilford HP5+ @ ASA-200 - Pyrocat-HD (1+1+100) 9:00 @ 20C

Eastman-Kodak Double-X 5222
Wait, there's a 200-speed film that I actually enjoy working with? Well yes, because there is something incredibly special about Double-X. First there is the connection to motion pictures, Casino Royale and more recently Oppenheimer. But Double-X always delivers the goods, while not fine-grained, it has a wonderful grain structure, and a tonality that goes on for days. I use this film for street photography, general-purpose and travel. It can be developed in a lot of different developers, but it does look amazing in Kodak's dedicated motion picture developer D-96. No matter the situation, this film will give you excellent image quality. Plus if you go through CineStill you can get Double-X in both 35mm and 120 formats.

Hasselblad 500c - Carl Zeiss Planar 80mm 1:2.8 - Cinestill BwXX @ ASA-200 - FPP D96 (Stock) 6:00 @ 20CNikon F5 - AF Nikkor 85mm 1:1.8D - CineStill BwXX @ ASA-250 - Ilford Ilfotec HC (1+63) 10:45 @ 20C (Constant Rotation)Mamiya m645 - Mamiya-Sekor C 35mm 1:3.5 N - CineStill BwXX @ ASA-250 - Fotospeed FD10 (1+9) 10:00 @ 20CNikon F5 - Tamron AF 100-300mm 1:5-6.3 - Cinestill BwXX @ ASA-200 - Cinestill D96 (Stock) 6:30 @ 20C

Ilford Pan F+
It's always good to have a slow film in your toolkit. And while there are plenty of options, my go-to when things matter is Ilford Pan F+. You get a slow film with lots of contrast and latitude. Excellent edge sharpness and fine grain. Plus, you can throw it in almost any developer and get excellent results. Perfect for landscapes, portraits, and bright days. It replaces Panatomic-X a little more than TMax 100 does in my books, despite having much more contrast. And it looks good in high-contrast developers like D-19, much better than I thought it would.

Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford Pan F+ @ ASA-50 - Tetenal Neofin Blau (1+9) 12:15 @ 20C (Constant Rotation)Nikon F5 - AF Nikkor 24mm 1:2.8 - Ilford Pan F+ @ ASA-50 - Kodak D-19 (1+1) 5:30 @ 20C (Constant Rotation)Canon EOS 3000 - Canon Lens EF 28mm 1:2.8 - Ilford Pan F+ @ ASA-50 - 510-Pyro (1+100) 6:15 @ 21CHasselblad 500c - Carl Zeiss Planar 80mm 1:2.8 - Ilford Pan F+ @ ASA-50 - Ilford Microphen (1+1) 6:00 @ 20C

Top Five Discontinued Film Stocks
While we are lucky to have as many films out there as we do today, there are many that have been discontinued. Some recently, others before I was born. Yet I still am drawn towards a bunch of these and will purchase them when I come across them at a camera fair, store, or online.

Kodak Panatomic-X - Discontinued: 1987
By this point, you're probably sick of me extolling the virtues of Panatomic-X. But I cannot stop; it's such a great film and, oddly enough, one I found because I thought the name was cool. I mean, Panatomic-X, it's so cold war! Now this film is only for some, it doesn't have a lot of contrast natively, but that can be fixed in either post-processing or by using a strong mix of a high-contrast developer. While personally, I love the film in D-76, HC-110 (Dil. H), and Xtol. It might do well in D-19 (to boost that contrast) or drop the contrast even more with D-23. And while Panatomic-X is long gone, a few options exist to get a near experience. You can always shoot TMax 100 at ASA-32 and pull the film in development, or get your hands on CatLABS X Film 80 or Mk. II.

Mamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Kodak Panatomic-X @ ASA-32 - Kodak D-76 (Stock) 5:00 @ 20CNikon FA - AI-S Nikkor 50mm 1:1.4 - Kodak Panatomic-X @ ASA-32 - Blazinal (1+50) 10:00 @ 20CNikon F4 - AF Nikkor 35mm 1:2D - Kodak Panatomic-X @ ASA-32 - Kodak Xtol (1+1) 7:30 @ 20CMinolta XE-7 - Minolta MD Rokkor-X 45mm 1:2 - Kodak Panatomic-X @ ASA-32 - Kodak HC-110 Dil. H 9:00 @ 20C

Kodak Kodachrome - Discontinued: 2002-2009
It would only be a list of discontinued films with Kodachrome. I first heard about Kodachrome through the Film Photography Project right when Kodak announced the discontinuation of the legendary film stock. I got my hands on a couple of rolls, but sadly those were poorly stored, and they showed. But I got more from Sean Galbraith, and these were in top condition, and I started to see why people love this film so much! It has rich, authentic colour reproduction. But I also had the chance to shoot Kodachrome 25 and Kodachrome 40 (Tungsten) balanced and get them out to Dwayne's Photo before they stopped processing the film.

Nikon F3 - AI-S Nikkor 50mm 1:1.4 - Kodak Kodachrome 64 - Processing By: Dwyanes PhotoNikon F3 - AI-S Nikkor 50mm 1:1.4 - Kodak Kodachrome 64 - Processing By: Dwyanes PhotoNikon F4s - AF Nikkor 35mm 1:2D - Kodak Kodachrome 25 - Processing By: Dwyanes PhotoNikon F4s - AF Nikkor 35mm 1:2D - Kodak Kodachrome 40 Type A - Processing By: Dwyanes Photo

Fujifilm Astia 100F - Discontinued: 2011
Fuji often gets a bad rap for it's constant discontinuation of films, and most of these films are slide films. Although they are noted for some colour negative and B&W stocks that people still yearn after. But of all the films that Fuji has discontinued, my favourite, oddly is a slide film. Fujifilm Astia 100F is the second slide film that I ever shot, the first is the Sensia line. But it was Astia that made me love slide film. It had the perfect balance of contrast, sharpness, and colour replication. In fact, I feel it had the most realistic colour replication of all the Fuji slide films.

Nikon F3 - AI-S Nikkor 50mm 1:1.4 - Fuji Astia 100F @ ASA-100 - Processing By: Silvano'sRollieflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fuji Astia 100F @ ASA-100 - Processing By: Silvano'sArsenal Kiev 88 - Biometar 80mm 1:2.8 - Fuji Astia 100F @ ASA-100 - Processing By: Silvano'sIntrepid 4×5 Mk. I - Schneider-Kreuznach Symmar-S 1:5.6/210 - Fuji Astia 100F @ ASA-100 - Processing By: The Darkroom

Agfa APX 25 - Discontinued: 1989-2000
I'll admit, I had a roll of APX 25 in 120 long before I knew what the film was and used it to practice loading film onto Patterson reels in daylight. I admit that mistake, but since then, I have used this film several times, including a 120-roll. I enjoy working with slow films, and APX 25 offers excellent edge sharpness, fine grain, and fantastic tonality. While you get terrific results from Rodinal, I enjoyed using Adox FX-39 II. But I also have gotten superb results from Fotospeed FD10. I am looking forward to trying the film with Diafine and Compard R09 Spezial (Studional). I do regret not being able to develop a roll in Tetenal Neofin Blau, but you cannot make the old stock solution with the new bottles.

Minolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Agfa APX 25 @ ASA-25 - Ilford ID-11 (Stock) 8:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Agfa APX 25 @ ASA-25 - Ilford Ilfotec HC (1+63) 11:30 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Agfa APX 25 @ ASA-25 - Adox Rodinal (1+50) 9:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Agfa APX 25 @ ASA-25 - Adox FX-39 II (1+9) 5:15 @ 20C

Efke Films - Discontinued: 2012
Okay, so I'm going a little weird for this last one because I'm including all Efke films in this section. While I have only done an official review (twice) for KB100 (the fastest film of the group), I have had the chance to shoot all three versions. Efke's line of films includes ASA-25, ASA-50, and ASA-100 versions and are based on the original Adox B&W films released in the mid-20th Century. Efke got their hands on the formulas and equipment after Dupont sold it in 1972. Eventually, Fotoimpex would begin rebadging the film under the Adox name until discontinuation in 2012, when Efke could no longer maintain the equipment. After learning about Freestyle Photographic through the Film Photography Project, I first got my hands on films. I started to explore the weird world of B&W films. The films are silver rich and provide a classic look that most modern films don't offer. However, you did need to use a water stop bath and hardening fixer to preserve these film stocks.

Zeiss Ikon Contax IIIa - Carl Zeiss Jena Tessar 1:3,5 f=5cm T - Efke KB100 @ ASA-100 - Kodak D-23 (Stock) 7:45 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Adox CHS 100 - Blazinal (1+25) 6:00 @ 20CNikon F5 - AF Nikkor 35mm 1:2D (Yellow-15) - Efke KB50 @ ASA-50 - Kodak Xtol (Stock) 8:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Adox CHS 50 - Processing By: Silvano'sPacemaker Crown Graphic - Fuji Fujinon W 1:5.6/125 - Efke PL25 @ ASA-25 - PMK Pyro (1+2+100) 7:30 @ 21CModified Anniversary Speed Graphic - Fuji Fujinon-W 1:5.6/125 - Efke PL25 @ ASA-25 - PMK Pyro (1+2+100) 7:30 @ 21C

Top Five Favourite B &W Films
While these aren't always the one I'll reach for when results matter, they are among my favourites that I've shot and used. And I continue to use them when I'm feeling in a creative rut or want to get out and have some film fun and work in the black & white sphere!

Kentmere 100
Kentmere 100 is a wonderful budget film from Harman Technologies/Ilford Photo. But don't let the budget label scare you, because Kentmere 100 is a film that hits high above its price point. Yes, it doesn't have the finest grain out there but it has a lovely traditional grain structure. But that grain helps enhance the edge sharpness which combined with the wonderful tonal range of the film creates a delightful film that will deliver excellent results. Plus with the recent release of the film in 120 format makes it a great film that can fill out your film cataloge.

Nikon F5 - AF-S Nikkor 14-24mm 1:2.8G - Kentmere 100 @ ASA-100 - Kodak HC-110 Dil. B 5:45 @ 20CMamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Kentmere 100 @ ASA-80 - SPUR HRX (1+20) 9:30 @ 20COlympus OM-10 - Olympus G.Zuiko Auto-W 1:3,5 f=28mm (Yellow-12) - Ketmere 100 @ ASA-100 - Flic Film Black/White & Green (1+49) 12:00 @ 20C (Constant Rotation)Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Kentmere 100 - Compard R09 Spezial (1+30) 9:00 @ 20C

Rollei RPX 25
Based on Agfa Avifoto 80, and probably is my favourite of all the films based on this surveillance film stock. While it also works well as Adox HR-50 and makes unique transparencies as Adox Scala 50. When you get to Retro 80s, it gets far too punchy. RPX 25 is a film rated at ASA-25, has excellent near-IR sensitivity and responds well to many different light. But what makes RPX 25 a cut above the other versions? You can get this in 35mm, 120, and 4×5 sheets! While not a film you take out all the time with a slow ASA-25 speed, it is a film for sunny days.

Pacemaker Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Rollei RPX 25 @ ASA-25 - Pyrocat-HD (1+1+100) 12:00 @ 20CContax G2 - Carl Zeiss Biogon 28/2,8 T* - Rollei RPX 25 @ ASA-25 - Kodak D-76 (1+1) 8:00 @ 20CPentax 67II - SMC Pentax 67 1:2.4 105mm - Rollei RPX 25 @ ASA-25 - Ilford Ilfotec HC (1+63) 11:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Rollei RPX 25 @ ASA-25 - Adox Scala Developer (1+1) 10:45 @ 20C

Adox CHS 100 II
The return of the classic! CHS 100 II is a reformulated and reintroduced version of Efke KB100, which is based on an original Adox film stock. CHS 100 II is similar to the original one but has a more robust emulsion and has a bit more latitude. It offers up an old school look with a bit more grain than modern 100-speed films. The one thing I did notice with this film is that it doesn't do well in high-contrast conditions, you'll loose a lot of shadow detail. So you can probably shoot it at ASA-80 or ASA-64 to help open up those shadows when you develop, don't pull in development. You can get this in 35mm and 4×5, although I would love to see Adox bring it back in the 120 format. While you can use this with any developer, for the best results I recommend Adox FX-39 II.

Canon AE-1 - Canon Lens FD 28mm 1:2.8 - Adox CHS 100 II @ ASA-80 - Adox Atomal 49 (1+1) 9:00 @ 20C (Constant Rotation)Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Adox CHS 100 II @ ASA-100 - Adox Atomal 49 (Stock) 5:45 @ 20CKonica-Minolta Maxxum 70 - Minolta Maxxum AF 35-70mm 1:4 - Adox CHS 100 II @ ASA-100 - Adox FX-39 II (1+9) 7:00 @ 20CCrown Graphic - Schneider-Kreuznack Xenar 1:4,7/135 - Adox CHS 100 II @ ASA-100 - Kodak Xtol (1+1) 7:15 @ 20C

ORWO UN54+ (Lomography Potsdam)
ORWO is a strange company these days. While tracing itself to the original Agfa company and then reformed on the eastern side of the iron curtain. The company's current iteration has been in hot water of late, especially the owner. All that aside, UN54+ is a beautiful film with tonnes of tonality, fine grain and excellent sharpness. Plus, if you get it from Lomography, you can order it in 35mm and 120. It loves D96 and handles other developers well. But honestly, for best results, a Pyro developer or D96, and you'll be happy.

Mamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Lomography Potsdam 100 @ ASA-100 - Kodak HC-110 Dil. E 6:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Lomography Potsdam 100 @ ASA-100 - Blazinal (1+50) 9:30 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Lomography Potsdam 100 @ ASA-100 - Pyrocat-HD (1+1+100) 10:00 @ 20CMamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Lomography Potsdam 100 @ ASA-100 - Cinestill D96 (Stock) 6:00 @ 20C

Fomapan 100
Along the same lines as Kentmere 100, Fomapan 100 is an excellent budget film. But it has a look that's different from Kentmere 100, its a classic film with a classic look. It has an excellent edge sharpness, but is a little more fine-grain than Kentmere 100 but it also depends on how you develop the film. It has a good tonality, but can get pretty crunchy under high-contrast situations. Plus you can get this film under multiple boutique and budget brands. So even if you cannot get the Foma branded stuff, there are plenty of other ways to get your hands on the stock. Fomapan 100 is also avaliable in 35mm, 120, and sheet films.

Leitz Leica M4-P - 7Artisans DJ-Optical 35/2 - Fomapan 100 @ ASA-100 - Foma Retro Special (Stock) 4:00 @ 20CMamiya C220f - Mamiya-Sekor 1:2.8 f=80mm - Fomapan 100 @ ASA-100 - 510-Pyro (1+100) 8:30 @ 20CNikon FM - AI-S Nikkor 105mm 1:2.5 - Fomapan 100 @ ASA-100 - Ilford Microphen (1+1) 9:00 @ 20CHasselblad 500c - Carl Zeiss Planar 80mm 1:2.8 - Fomapan 100 @ ASA-100 - Kodak D-23 (Stock) 10:00 @ 20C

Top Five Favourite Colour Films (C-41 & E-6)
I don't shoot a lot of colour film, I find it difficult to scan and getting it processed is a bit of a drag. I can and have processed colour at home, but because the kits last for several rolls I usually will wait until I have a huge backlog then spend the next couple of evenings running everything through. If I take it to the lab I'm looking at at least a week turn around if I can take the time to drop the rolls off. And colour slide is still a mail out process. Plus, colour film is not the cheapest way to shoot film these days. But these are some of my favourite colour films I've reviewed.

Kodak Ektachrome E100
Regarding slide film, I have always been more of a Fujifilm shooter. But with Fujifilm cutting or reducing the production of many of their E-6 films, the reintroduction of Ektachrome E100 made me sit up and look. I have shot plenty of Ektachrome, including E100G and E100VS. So when Kodak said that the new E100 would take the best of both those film stocks, I was excited. I don't see myself using this again due to increased prices and the struggle to shoot enough to make it worthwhile for an E-6 kit or to send it out to a lab and have a good month's turnaround. I will recommend this to someone wanting to start shooting slide films. It's forgiving for a slide with decent latitude and has a beautiful rich colour replication and excellent edge-sharpness. Plus it looks fun when cross-processed using the ECN-2 process.

Nikon F5 - AF Nikkor 35mm 1:2D - Kodak Ektachrome E100 @ ASA-100 - Processing By: Boréalis PhotolabMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak Ektachrome E100 @ ASA-100 - Processing By: Boréalis PhotolabMamiya m645 - Mamiya-Sekor C 35mm 1:3.5 N - Kodak Ektachrome E100 @ ASA-100 - Unicolor Rapid E-6 KitMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak Ektachrome E100 @ ASA-100 - Unicolor Rapid E-6 Kit

Kodak Portra 400
Okay, I don't shoot a lot of Portra anymore; the biggest reason it is hard to find is that everyone wants to shoot Portra 400. The second is that it costs so much money when you find it; I tend to leave it for those who live and breathe nothing but Portra 400. Yet, this is probably the most accessible professional film for the average photographer, especially for those who are moving to film from digital. Portra 400 is a film you can abuse and shoot almost like your digital camera, adjusting the sensitivity between shots and then processing it normally. While it doesn't have as wide a range as digital, you can shoot Portra 400 between 100 and 1600 without pushing and pulling during processing. The colours will change depending on the EI and processing, but generally, they are pleasing. More pastel and soft with over-exposure and punching with under-exposure, and relatively accurate when shot at the box speed. It's a good film, one I would use for jobs where the client insisted on colour film but not for everyday shooting; for that, I would go with Ultramax 400.

Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Kodak Portra 400 @ ASA-400 - Processing By: Burlington CameraMinolta Maxxum 9 - Minolta Maxxum AF 50mm 1:1.7 - Kodak Portra 400 @ ASA-800 - Processing By: Burlington CameraHasselblad 500c - Carl Zeiss Planar 80mm 1:2.8 - Kodak Portra 400 @ ASA-400 - Processing By: Burlington CameraRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Kodak Portra 400 @ 1600 - Processing By: Silvano's

Eastman-Kodak Vision3 250D
Regarding colour film, other than Areocolor IV, the most affordable way to shoot colour is to go to the Kodak Vision3 series of films; of the four stocks available, my hands-down favourite is 250D. This lovely mid-speed film has a lot of latitude and does a beautiful job replicating colours. It isn't weird like 200T or 500T that requires extensive colour grading and filtering to work in daylight, you get excellent results right from the scanner, and you can shoot it over or under a stop without any loss when processing normally. The downside is that it comes with a remjet layer, so only specific labs can handle that and the ECN-2 process. But you can get it with this layer removed or never put it in place during manufacturing.

Nikon FE2 - AI Nikkor 28mm 1:3.5 - Kodak Vision3 5207 250D @ ASA-250 - FPP Super Color Negative ECN-2 KitNikon FE2 - AI Nikkor 28mm 1:3.5 - Kodak Vision3 5207 250D @ ASA-250 - FPP Super Color Negative ECN-2 KitNikon FE2 - AI Nikkor 28mm 1:3.5 - Kodak Vision3 5207 250D @ ASA-250 - FPP Super Color Negative ECN-2 KitNikon FE2 - AI Nikkor 28mm 1:3.5 - Kodak Vision3 5207 250D @ ASA-250 - FPP Super Color Negative ECN-2 Kit

Kodak Ultramax 400
It was hard to figure out which film to fill this spot, it was a close match between Gold 200 and Ultramax 400, but in the end, it was how Ultramax 400 looked at ASA-200 and normally developed that sold it for me. But don't just shoot it one stopover; it performed beautifully at box speed and one stop under. It's the perfect well-rounded consumer film I recommend to new shooters over Portra 400. The problem is that supply is hard to come by, and the cost is rising. But if you do find it, you are in for a treat. I consider this film superior to Portra 400; the colours look better.

Nikon FA - AI-S Nikkor 35mm 1:2.8 - Kodak Ultramax 400 @ ASA-200 - Processing By: Burlington CameraNikon FA - AI-S Nikkor 35mm 1:2.8 - Kodak Ultramax 400 @ ASA-200 - Processing By: Burlington CameraPentax Espio 115m - Pentax Zoom Lens 38-115mm 1:3.9-10.5 - Kodak Ultramax 400 @ ASA-400 - Processing By: Burlington CameraMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Kodak Ultramax 400 @ ASA-800 - Processing By: Burlington Camera

SantaColor 100 (Kodak Areocolor IV)
The "New" kid on the block, while it isn't really new but rather newly available. Kodak Areocolor IV is designed as an aerial surveillance film that can be processed in either C-41 (Colour Negative) or E-6 (Colour Slide) because it lacks the orange mask that is a type of negative film. Plus, it is a fresh film and continues to be produced. The problem in the past has been that it can only be purchased in large bulk rolls, making it difficult for even home bulk loaders to split it down. Enter several companies who started rerolling this under various house brands. You have SantaColor 100, FlicFilm Electra 100, FilmWashi X, and Luminar 100. Plus, who knows how many others! This is a fun colour film that I can get behind as it produces a beautiful warm colour with plenty of latitude. It works best between ASA-125 and ASA-200, rather than the 'box' speed of ASA-100, which blows out the images.

Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - KameraStore SantaColor 100 @ ASA-50 - Processing By: Burlington CameraMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - KameraStore SantaColor 100 @ ASA-100 - Processing By: Burlington CameraMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - KameraStore SantaColor 100 @ ASA-200 - Processing By: Burlington CameraMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - KameraStore SantaColor 100 @ ASA-400 - Processing By: Burlington Camera

Five Most Difficult Films
Sometimes there are films that are difficult to nail down. And while these aren't bad films, I've just had trouble getting them to a point that I'm happy with the results. And while I have managed to figure some films out (see the next section), others continue to elude my efforts. Now I haven't given up on these films and in some cases I do keep on trying to get results that I like out of them, but others I have given up on.

FilmWashi Type D
Washi D surprised me in a couple of ways, the first being that despite having a box speed of ASA-500, the images are fine-grained and sharp. Probably because this is a surveillance film stock that is designed to give exacting details for intelligence agents. The second is how crazy the images got when you added a yellow filter. With a deep yellow filter you get dramatically dark skies and even a pale yellow there is significant darkening. That said, this film drove me crazy with the paper thin emulsion that I ruined one roll and nearly ruined a second. It also does not handle overcast conditions, strange for a 500-Speed film and dislikes HC-110/Ilfotec HC. Although in the case of Ilfotec HC, I think I could have extended the development at least a minute and a half to help bring out the shadow details. That said, Type D is no longer available as it is sourced from Russia and since the illegal invasion and ongoing war in Ukraine is not sold by Washi.

[](https://www.flickr.com/photos/axle81401/50162308641/in/dateposted-public/ "FRB No. 64 - Film Washi "D" - Roll No. 1 (Kodak D-76)")Nikon F5 - AF Nikkor 35mm 1:2D (Yellow-15) - FilmWashi Type D @ ASA-500 - Kodak D-76 (1+1) 8:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 (Yellow-12) - Film Washi D @ ASA-500 - Ilford Ilfotec HC (1+63) 8:00 @ 20C[](https://www.flickr.com/photos/axle81401/50165890966/in/dateposted-public/ "FRB No. 64 - Film Washi "D" - Roll No. 2 (Rodinal)")Olympus OM-2n - Olympus G.Zuiko Auto-W 1:3.5 f=28mm (Yellow-12) - FilmWashi D @ ASA-500 - Blazinal (1+50) 11:00 @ 20C

Agfa Copex Rapid
Of all the films I have faced difficulties with, Copex Rapid is the one that I certainly will want to try again. The problem is that the film itself can be difficult to source, but the real trouble is the dedicated developer cannot be found in North America and costs a lot of money and will take a long time to ship from Europe. And the type of photography Copex Rapid is aimed at I don't practice. But it does perform well with regular developers under bright conditions. This is a fair weather film, it loves bright sunlight, and needs exacting exposure.

Mamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Agfa Copex Rapid @ ASA-25 - Ilford ID-11 (Stock) 5:00 @ 20CNikon FE2 - AI Nikkor 24mm 1:2.8 - Agfa Copex Rapid @ ASA-50 - Adox Rodinal (1+100) 18:00 @ 20CMamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Agfa Copex Rapid @ ASA-64 - 510-Pyro (1+300) 20:00 @ 21CNikon FE2 - AI Nikkor 24mm 1:2.8 - Agfa Copex Rapid @ ASA-50 - Adox FX-39 II (1+19) 9:00 @ 20C

Adox CMS 20 II
I caught a lot of flack for this film stock, CMS 20 II is a closed imaging system, which is to say it works with only one developer, Adotech IV. Now I'm not one for a closed system, especally with a B&W film, so I wanted to try and use other developers. Also it was near impossible to get bottles of Adotech IV when I completed this review. Now I did get workable results from most of the developers I used, D-76, Rodinal, and Pyrocat-HD. The best results I got are from TMax Developer. I did go back and revisit this film twice, once with Adotech IV and again with the Adox Scala Reversal Kit. In both cases, I don't know what happened but I could not get results good enough for publishing. Unlike some of the other films on this list, I won't be trying CMS 20 II again.

Pentax 645 - SMC Pentax A 645 35mm 1:3.5 - Adox CMS 20 II @ ASA-20 - Kodak TMax Developer (1+4) 5:30 @ 20CNikon F90 - AF-S Nikkor 14-24mm 1:2.8G - Adox CMS 20 II @ ASA-20 - Kodak D-76 (1+3) 10:30 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Adox CMS 20 II @ ASA-20 - Blazinal (1+100) 18:00 @ 20CNikon F5 - AF Nikkor 50mm 1:1.4D (CPOL) - Adox CMS 20 II @ ASA-12 - Pyrocat-HD (1+1+100) 9:00 @ 20C

Svema Foto 200
There are a lot of people who feel this film is special, and they aren't wrong. It's a wonderful film that provides amazing tonality and excellent sharpness. But it comes at a cost, there is way more grain with this film than I would expect from a 200-Speed film! Surprisingly it works best in Rodinal, and has less-visible grain than the other developers I tried it in, it also responds well to Kodak Xtol. But the real problem I have with Svema 200, is getting it loaded onto the reels. The paper thin negatives buckle at the slightest resistance and when working in a change bag, it heats up quickly and you get the film sweats. I don't have a need for Svema 200 in my current photography so I won't be returning to this film.

Nikon FA - AI-S Nikkor 35mm 1:2.8 (CPOL) - Svema Photo 200 @ ASA-200 - Kodak D-76 (Stock) 8:30 @ 20CNikon F5 - AF DC-Nikkor 105mm 1:2D - Svema Foto 200 @ ASA-200 - Blazinal (1+50) 14:00 @ 20CNikon F4 - AF Nikkor 35mm 1:2D - Svema Foto 200 @ ASA-200 - Kodak Xtol (1+1) 12:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Svema Foto 200 @ ASA-200 - Pyrocat-HD (1+1+100) 15:30 @ 20C

Foma Retropan 320
I really wanted to like Retropan, I think this film has a lot of potential to fill in a gap that is just enough different from Fomapan 400, but I can't get around the fact that the contrast is far to low in most developers! To get the best results, you do want to add some filtration and use the dedicated Retro Special developer. But once you start straying, you start to see a lot of muddy grain, displeasing low contrast, and an overall softness. It even didn't play well with Pyrocat-HD, and looks ugly in D-76 stock. I think it would do well in a high-contrast developer like LQR or D-19, but again, I don't see it a worthwhile effort when I have better results from Fomapan 400.

Mamyia m645 - Mamiya-Sekor C 35mm 1:3.5 N (Yellow-12) - Foma Retropan 320 Soft @ ASA-320 - Foma Retro Special Developer (Stock) 5:00 @ 20CMamyia m645 - Mamiya-Sekor C 35mm 1:3.5 N (Yellow-12) - Foma Retropan 320 Soft @ ASA-200 - Foma Fomadon LQN (1+10) 8:30 @ 20C (Constant Rotation)Mamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Foma Retropan 320 @ ASA-320 - Kodak D-76 (Stock) 9:30 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Foma Retropan 320 @ ASA-320 - Pyrocat-HD (1+1+100) 11:30 @ 20C

Redeemed Films
I honestly have a drive to find the right way to shoot and develop a film. It might take a bit of time to discover the right combination to get results that I like, but it can be worth it and you discover a film that will work in odd situations or to give a look of yesteryear that isn't possible with modern film stocks.

Fomapan 400
Foma 400 is an interesting film. When I first heard about it, the film was not given the best reputation. Gritty, Grainy, Mushy. But when I reviewed the stock I saw that it had some potential. It took a lot of work to figure out how to get the best results from Fomapan 400. Some will say that it is not a true 400-Speed Film, but I do disagree with that statement now. Fomapan 400 is a beautiful film when shot at either 400, 800, or 200 and every point in-between. It's all about shooting the stock at the right speed and developing it right in the situation at hand. Fomapan 400 is a true classic film, it looks like the Tri-X of the 60s and 70s. Works well with high-contrast developers, compensating developers, and yellow filters. You can pick this stuff up in 120, 35mm, and sheet films. Along with various boutique and budget rebadges.

Mamiya C220f - Mamiya-Sekor D 1:3.5 f=105mm - Fomapan 400 @ ASA-200 - Ilford Ilfotec HC (1+31) 6:00 @ 20CNikon F5 - AF Nikkor 14mm 1:2.8D - Fomapan 400 - Foma Retro Special Developer (Stock) 6:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fomapan 400 @ ASA-200 - Kodak D-76 (1+1) 9:00 @ 20CNikon FM - AI Nikkor 28mm 1:3.5 - Fomapan 400 @ ASA-200 - Flic Film Black/White & Green (1+49) 12:00 @W film. P30 was a film that baffled me for a long time, a tough nut to crack. But I had to figure out the best conditions and development for the film. Then there was also the slight difference between the original Alpha release and the full production film stock. A delightful film that certainly gives a unique perspective. It loves light and medium contrast conditions, works best in run of the mill developers like D-96 and Xtol clones. While I haven't used the film in 120, I do plan on using it in that medium. Although if I had to choose between P30 and the newly released ORTO, I would pick ORTO.

Minolta Maxxum 9 - Minolta Maxxum AF 100mm 1:2.8 MACRO - FilmFerrania P30 @ ASA-80 - Cinestill D96 (Stock) 8:00 @ 20CNikon F5 - AF-S Nikkor 14-24mm 1:2.8G - FilmFerrania P30 @ ASA-80 - Adox XT-3 (Stock) 9:00 @ 20CNikon F5 - AF Nikkor 35mm 1:2D (Yellow-15) - Film Ferrania P30 @ ASA-50 - Kodak D-76 (Stock) 8:00 @ 20CNikon FE - AI-S Nikkor 35mm 1:2.8 - Ferrania P30 @ ASA-80 - Kodak HC-110 Dil. H 12:00 @ 20C

Kentmere 400
When I first reviewed Kentmere 400 I disliked it more than Fomapan 400. This was an ugly film, gritty, grainy, and mushy. But after Ilford released the film in 120 I started to get into the film a lot more. A budget friendly fast film that isn't Fomapan 400, and Kentmere 400 has a different look and feel. Like Foma 400, Kentmere 400 is a film that you need to develop and shoot right to get the best results. Compensating developers are a must, Tmax Developer, Atomal 49, and Studional (R09 Spezial/Hydrofin). And also, don't try over-exposing the film, it just goes grey and not in a good way. But you can push it a couple of stops and see some excellent results.

Nikon FE2 - AI-S Nikkor 35mm 1:2.8 - Kentmere 400 @ ASA-400 - Compard R09 Spezial (1+30) 8:00 @ 20CMamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Kentmere 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20C (Constant Rotation)Leitz Leica M4-P - DJ-Optical 7Artisans 35/2 - Kentmere 400 @ ASA-400 - Adox Atomal 49 (1+1) 13:30 @ 20C (Constant Rotation)Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Kentmere 400 @ ASA-400 - Adox Atomal 49 (1+1) 13:30 @ 20C (Constant Rotation)

Fomapan 200
While I warmed up to Fomapan 400 it took me a lot longer to get used to Fomapan 200. I still don't think I'm 100% there with Foma 200. But I've always disliked most 200-speed films. But I'm certainly on the right path with Fomapan 200. The trouble is that it likes exotic developers, Pyro-Based, HR-DEV, Atomal 49, and others. My opinion of Fomapan 200 has certainly improved and it is a capable film I just haven't figured out the right spot for where I like the stock. I guess I still have a way to go with this film, but maybe using it on a Frugal Film Project cycle will help out?

Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fomapan 200 @ ASA-200 - Compard R09 Spezial (1+30) 10:45 @ 20C (Constant Rotation)Nikon FM - AI-S Nikkor 35mm 1:2.8 (Yellow-12) - Fomapan 200 @ ASA-100 - Pyrocat-HD (1+1+100) 7:30 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fomapan 200 @ ASA-125 - Adox HR-DEV (1+35) 12:00 @ 20CNikon FM - AI-S Nikkor 200mm 1:4 - Fomapan 200 @ ASA-200 - Kodak D-23 (Stock) 7:00 @ 20C

Rollei Superpan 200
Here's another 200-speed film, Superpan 200 is an interesting film stock that has a lot to offer. It has a unique look and feel that extends into the near-IR range. While I haven't tried it with a dedicated IR filter, but it looks amazing under a red filter and a high-contrast developer. Like Fomapan 200, it took me a while to get to know Superpan 200. It all started with a stand development in Rodinal. Now I'm not big on stand-development, but it gave me a starting point for what I want Superpan to look like. Then it was a matter of building from there, will it be a regular choice, no, but I at least know how to get it to the right spot.

Mamiya m645 - Mamyia-Sekor C 35mm 1:3.5 N (Red-25) - Rollei Superpan 200 @ ASA-200 - Kodak D-19 (1+1) 8:30 @ 20CMinolta XE-7 - Minolta MD Rokkor-X 45mm 1:2 - Rollei Superpan 200 @ ASA-200 - Kodak D-76 (1+1) 14:00 @ 20CNew Mamiya 6 - Mamiya G 1:3.5 f=75mm L - Rollei Superpan 200 @ ASA-200 - Adox FX-39 II (1+14) 15:15 @ 20C (Constant Rotation)Nikon Nikkormat EL - AI-S Nikkor 35mm 1:2.8 - Rollei Superpan 200 @ ASA-200 - Adox Atomal 49 (Stock) 10:30 @ 20C

Well that wraps up the first 100 reviews! Here's to another 100 reviews, but it may never reach that number. Sadly unlike cameras and lenses there is a finite number of film stocks out there, but hopefully I can at least get up to 150? And I do want to get my hands on more discontinued and expired film stocks to fill out some more reviews. Plus I have some ideas to add secondary reviews for film stocks already tested. Until then you can find a complete list of my reviews over on the dedicated page.

#filmreviewblogs #510pyro #adoxatomal49 #adoxchs100art #adoxchs100ii #adoxcms20ii #adoxfx39ii #adoxhrdev #adoxrodinal #adoxscaladeveloper #adoxxt3 #agfaapx25 #agfacopexrapid #agfarodinal #arsenalkiev88 #belliniecofilm #blazinal #canonae1 #canoneos3000 #cinestilld96 #compardr09spezial #eastmandoublex #eastmanvision3250d #efkekb100 #film #filmreview #filmferraniap30 #filmwashid #flicfilmblackwhitegreen #fomafomadonlqn #fomaretrospecialdeveloper #fomaretropan320 #fomapan100 #fomapan200 #fomapan400 #fotospeedfd10 #fppsupercolornegativeecn2kit #fujifilmastia100f #graflexcrowngraphic #graflexspeedgraphic #hasselblad500c #holga120n #ilforddelta100 #ilfordfp4 #ilfordhp5 #ilfordid11 #ilfordilfotechc #ilfordmicrophen #ilfordpanf #intrepid4x5mk1 #kamerastoresantacolor100 #kentmere100 #kentmere400 #kodakd19 #kodakd23 #kodakd76 #kodakektachromee100 #kodakhc110 #kodakkodachrome25 #kodakkodachrome40typea #kodakkodachrome64 #kodakpanatomicx #kodakportra400 #kodaktmaxdeveloper #kodakultramax400 #kodakxtol #konicaminoltamaxxum70 #kyoceracontaxg2 #leitzleicam4p #mamyiac220f #mamyiam645 #minoltamaxxum9 #minoltaxe7 #newmamyia6 #nikonf3 #nikonf4 #nikonf5 #nikonf90 #nikonfa #nikonfe #nikonfe2 #nikonfm #nikonnikkormatel #olympusom10 #olympusom2n #orwoun54 #pentax645 #pentax67ii #pentaxespio115m #pmkpyro #pyrocathd #review #rolleirpx25 #rolleisuperpan200 #rolleiflex28f #special #spurhrx #svemafoto200 #tetenalneofinblau #unicolorrapide6kit #zeissikoncontaxiiia #zenzabronicags1

“Music is Life . . . “ Mural detail, Montclair NJ - early 2020

#Minolta #MinoltaMaxxum #MinoltaDynax #MinoltaMaxxum9 #MinoltaDynax9 #MinoltaAMount #SonyAMount #MinoltaLens #Minolta28f28 #Ilford #IlfordFilm #IlfordSFX200 #Ilfosol3 #LabBox #MinoltaScanElite2 #BlackAndWhite #BlackAndWhitePhotography #Photography #FilmPhotograpy #BelieveInFilm #MontclairNJ #NewJersey

Old church, Montclair NJ - early 2020

#Minolta #MinoltaMaxxum #MinoltaDynax #MinoltaMaxxum9 #MinoltaDynax9 #MinoltaAMount #SonyAMount #MinoltaLens #Minolta2450f4 #Ilford #IlfordFilm #IlfordSFX200 #Ilfosol3 #LabBox #BlackAndWhite #BlackAndWhitePhotography #Photography #FilmPhotograpy #BelieveInFilm #MontclairNJ #NewJersey

Developer Review Blog No. 29 – Ilford Ilfotec LC29

When it comes to Ilford developers here in North America, we have access to most of their chemical stocks. But there is one that is a bit of a unicorn, and that is Ilfotec LC29, and I can't see why! This is a developer that, despite being close to Ilfotec HC, does not produce images in line with what Ilfotec HC produces, and it is far easier to pour than Ilfotec HC! I splashed it a little bit at how easily it flowed. Right from the start, I knew I had a winner here in LC29 and feel bad that it isn't readily available here in North America, so hopefully, we can start getting it more across the pond (even if we have to lose another developer, I could do without Ilfosol 3 tbh).

Technical Details
Manufacturer: Ilford
Name: Ilfotec LC29
Primary Developer: Hydroquinone
Type: One-Shot
Mix From: Liquid

Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford Delta 400 @ ASA-400 - Ilford Ilfotec LC29 (1+19) 7:30 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford Delta 400 @ ASA-400 - Ilford Ilfotec LC29 (1+19) 7:30 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford Delta 400 @ ASA-400 - Ilford Ilfotec LC29 (1+19) 7:30 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford Delta 400 @ ASA-400 - Ilford Ilfotec LC29 (1+19) 7:30 @ 20C

Handling
Probably the best part about LC29 is how easily it pours. If you're used to something like Ilfosol 3 or Ilfotec HC that has a bit more viscosity, LC29 has none. Seriously, you have to be cautious with the developer for fear of spillage. Mixing is easy, but you will want to have a small graduated cylinder on hand as it makes measurement easier even at the strongest dilutions. Ilford has three published dilutions, 1+9, 1+19 and 1+29; each produces the same image quality. It ultimately comes down to economy and time. Ilford does note that you want to use a minimum of 10mL of concentrate per working solution for the best results, so adapt your volumes as you see fit. For the best quality of your images, it is best to use LC29 as a one-shot developer. However, the most potent dilution (1+9) can process ten rolls of film (or equivalent) per litre of working solution; that number drops to five with the 1+19 dilution. Resuing the 1+29 dilution is not recommended. The shelf life of the concentrate is not listed, but I would assume that it has a shelf life between Ilfosol 3 and Ilfotec HC. The working solution should be mixed and used as it has only twenty-four hours from mixed to expired.

Nikon F5 - AF-S Nikkor 28-70mm 1:2.8D - Ilford FP4+ @ ASA-125 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CNikon F5 - AF-S Nikkor 28-70mm 1:2.8D - Ilford FP4+ @ ASA-125 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CNikon F5 - AF-S Nikkor 28-70mm 1:2.8D - Ilford FP4+ @ ASA-125 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CNikon F5 - AF-S Nikkor 28-70mm 1:2.8D - Ilford FP4+ @ ASA-125 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20C

Applications
I almost wish that LC29 was available when I first started developing film at home; as a developer, this is easy to use to get started in home development. You get good consistent results without too much trouble and insane calculations. And since you get it in 500mL bottles, it won't take up too much space, and you won't have to worry about mixing up powder and counting how many rolls in a bottle of ID-11 you've developed. LC29 works well with almost any black & white film you throw in the soup. Both fast films, slow films, traditional and t-grained. Plus, it can handle one-stop push and pull development without any significant difficulty or radical changes in the overall appearance of the images. One of the more exciting applications of LC29 is that you can stand-develop your film with a highly-dilute working solution. Examples I've found online call for a 1+100 dilution and then left standing for three hours. Or, if you're looking for a shorter time, a 1+120 dilution with a time of one hour with two inversions at the thirty-minute mark.

Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford HP5+ @ ASA-800 - Ilford Ilfotec LC29 (1+19) 8:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford HP5+ @ ASA-800 - Ilford Ilfotec LC29 (1+19) 8:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford HP5+ @ ASA-800 - Ilford Ilfotec LC29 (1+19) 8:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford HP5+ @ ASA-800 - Ilford Ilfotec LC29 (1+19) 8:30 @ 20C

Qualities
If there's one word to describe LC29, that word is utilitarian. But it's a little more than that; to be honest, this developer is a jack of all trades and good at all of them. LC29 will take the film's best qualities and let them shine while it simply does the job of developing the film. LC29 does a superb job in helping tame contrast, both in reducing and increasing contrast to help bring the best qualities out of the film. It also handles grain well, helping reduce the overall appearance of grain without sacrificing edge sharpness. These two items also help with handling push and pull processing and fast and slow films. But what makes LC29 shine is that it's consistent in how it does this development; no matter the dilution, you will get the same results every time. Adjusting dilution depends on how economical you want to be with the developer.

Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 (Green-1) - Ilford Ortho+ @ ASA-80 - Ilford Ilfotec LC29 (1+19) 6:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 (Green-1) - Ilford Ortho+ @ ASA-80 - Ilford Ilfotec LC29 (1+19) 6:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 (Green-1) - Ilford Ortho+ @ ASA-80 - Ilford Ilfotec LC29 (1+19) 6:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 (Green-1) - Ilford Ortho+ @ ASA-80 - Ilford Ilfotec LC29 (1+19) 6:00 @ 20C

Lowdown
After spending a lot of time getting my hands on LC29, I question why it is not readily available here in North America. I can certainly see that LC29 would be a potential popular developer both in the home and potentially in a lab environment. It fits between Ilfotec HC and Ilfosol 3, taking the best qualities of both and combining them into a single chemical. I'm sad that I have to import the stuff from across the pond, and I know that I would certainly purchase the developer from a local shop if they chose to carry LC29. I would even go so far as to say LC29 should be the chemistry of choice in the Ilford Simplicity Pack over Ilfosol 3. But if you are in Europe and looking for a one-and-done developer that produces excellent results from almost any film, LC29 might be a good choice.

Minolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Kentmere 100 @ ASA-200 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Kentmere 100 @ ASA-200 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Kentmere 100 @ ASA-200 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Kentmere 100 @ ASA-200 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20C

Recommended Reading
Don't just take my word on Ilfotec LC29; check out these other blogs on the subject!
No Other Reviews Found

#developerreviewblogs #bwfilmdevelopment #canada #chemistry #developer #developerreview #harmantechnologies #ilford #ilforddelta400 #ilfordfp4 #ilfordhp5 #ilfordilfoteclc29 #ilfordortho #ilfordphoto #ilfoteclc29 #kentmere100 #milton #minoltamaxxum9 #nikonf5 #oakville #ontario #portdalhousie #review #rolleiflex28f #toronto

Developer Review Blog No. 28 – Flic Film Classic MQ

You can never have too many D-76/ID-11 clones. And while there are tonnes already on the market, plus the capacity to mix one up yourself at home. I want to introduce the latest clone on the market, Flic Film Classic MQ. Flic Film is a new Canadian film lab based in Alberta, Canada. While they focus on re-rolling motion picture film stock, they have a healthy film chemistry group. In addition to their brilliant Black/White & Green, among their offerings is a D-76 clone, Classic MQ (Metol/Hydroquinone). But it is available in the smaller 1L volume rather than mixing up a whole gallon of stock solution.

Technical Details
Manufacture: Flic Film
Name: Classic MQ
Primary Developer: Metol & Hydroquinone
Type: Reusable/One-Shot
Mix From: Powder

Mamyia m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford HP5+ @ ASA-400 - Flic Film Classic MQ (1+1) 13:00 @ 20CMamyia m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford HP5+ @ ASA-400 - Flic Film Classic MQ (1+1) 13:00 @ 20CMamyia m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford HP5+ @ ASA-400 - Flic Film Classic MQ (1+1) 13:00 @ 20CMamyia m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford HP5+ @ ASA-400 - Flic Film Classic MQ (1+1) 13:00 @ 20C

Handling
If you can mix any developer from a single pouch of powder, Classic MQ is not beyond your reach. The developer comes in a single pouch of pre-mixed powder combined with water to make a litre of stock solution. The temperature is pretty hot to mix the stuff up, and I recommend going with the upper range of temperatures. The reason is that the power will mix better; if you're doing the mixing by hand, it will take about 6-8 minutes to thoroughly mix, shorter if you have access to a magnetic stirrer. Once mixed, the stock solution has a shelf life of six months in a full 1L bottle. The stock solution can develop ten rolls of film or equivariant. You can reuse the solution in stock form for development, but it is a one-shot developer once diluted down to either 1+1 or 1+2. Flic Film has published no official times with Classic MQ; instead, use the published times for Kodak D-76 or Ilford ID-11 for times and dilutions. If these developers can do what they say, so can Classic MQ. I did all the rolls in the 1+1 dilution for this review to work through the bottle quickly.

Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Eastman Double-X 5222 @ ASA-250 - Flic Film Classic MQ (1+1) 10:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Eastman Double-X 5222 @ ASA-250 - Flic Film Classic MQ (1+1) 10:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Eastman Double-X 5222 @ ASA-250 - Flic Film Classic MQ (1+1) 10:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Eastman Double-X 5222 @ ASA-250 - Flic Film Classic MQ (1+1) 10:00 @ 20C

Applications
Like any D-76 clone, Classic MQ offers an alternative to Kodak chemistry, especially if you're Canadian support for a Canadian company. Classic MQ offers up that baseline developer that works well with all the black & white films on the market, working well on both standard cubic grained film and modern T and Delta grained films. And because it comes in only 1-litre volumes, it is ideal for those who develop at home but have limited space available to them. And for those working on a septic system, Classic MQ, designed for rural developers, has lower toxicity and is safe for septic systems. And like D-76 and ID-11, in a pinch, Classic MQ can be used as a paper developer both for darkroom printing and paper negatives. A film like Washi A would be a good idea to use Classic MQ to develop.

Nikon FE - AI-S Nikkor 35mm 1:2.8 - Kodak Tri-X 400 @ ASA-400 - Flic Film Classic MQ (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 @ 20CNikon FE - AI-S Nikkor 35mm 1:2.8 - Kodak Tri-X 400 @ ASA-400 - Flic Film Classic MQ (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 @ 20C

Qualities
Being the same stuff as D-76 and ID-11, Classic MQ offers up that same baseline developer. Classic MQ lets the film shine, adding or subtracting anything from itself. You get that full speed out of your emulsion without any trouble. D-76 offers excellent detail at stock dilution, both in the highlights and especially the shadows. Surprisingly the developer does an excellent job taming grain at stock dilution. There's little in the way of adding or reducing contrast, for normal behaviour develop in a stock dilution. If you want to increase the sharpness, with a slight uptick in grain visibility, dilute down to 1+1 as I did, and it certainly helped get a bit more sharpness out of my HP5+ and Double-X without and decrease in contrast.

Nikon F5 - AF-S Nikkor 28-70mm 1:2.8D (Yellow-12) - Ilford FP4+ @ ASA-125 - Flic Film Classic MQ (1+1) 11:00 @ 20CNikon F5 - AF-S Nikkor 28-70mm 1:2.8D (Yellow-12) - Ilford FP4+ @ ASA-125 - Flic Film Classic MQ (1+1) 11:00 @ 20CNikon F5 - AF-S Nikkor 28-70mm 1:2.8D (Yellow-12) - Ilford FP4+ @ ASA-125 - Flic Film Classic MQ (1+1) 11:00 @ 20CNikon F5 - AF-S Nikkor 28-70mm 1:2.8D (Yellow-12) - Ilford FP4+ @ ASA-125 - Flic Film Classic MQ (1+1) 11:00 @ 20C

Lowdown
Like any other clone developer, Classic MQ offers up another chance to get your hands on a solid developer if you're starting your journey in home development. And these days, with supply lines long and a bit of quality issue coming out of Sino Chemicals right now, Classic MQ offers up a classic D-76/ID-11 experience without any trouble. The developer's cost is right in line with what you would pay for D-76 or ID-11. While you cannot purchase the stock directly from Flic Film, they have many retail partners here in Canada and the United States and is a powder it is much easier to ship without any significant restrictions. And yes, it is easy to mix up your D-76 or similar developer yourself; sometimes, it's nice to support a Canadian business and simplify your life.

Recommended Reading
Don't just take my word on Classic MQ. Check out these other blogs on the subject!
No Other Reviews Found

#developerreviewblogs #blackwhite #canada #chemistry #classicmq #developer #developerreview #eastmandoublex #filmdeveloper #filmphotography #flicfilm #flicfilmclassicmq #guelph #hamilton #ilfordfp4 #ilfordhp5 #kodaktrix400 #mamiyam645 #minoltamaxxum9 #nikonf5 #nikonfe #ontario #review #rockton #westfieldheritagevillage

Toronto – Mid-Week

Heading into the big city is a rarity these days between no major events running yet and mainly shooting for review purposes and parenthood. My travel circle is limited these days, not that I'm complaining. But having a random mid-week trip into Toronto with a bit of free time allows me to get out, stretch my legs and camera gear and head out for some enjoyment of the craft. It also helped that I was again shooting for the Embrace the Grain film of the month challenge, which for March was Kentmere 100. So I packed two rolls of film, two cameras, and two lenses. In my bag for the trip was the Minolta Maxxum 9 with the 24mm f/2.8 and 100mm f/2.8 MACRO, a with a roll of Kentmere 100 and Kentmere 400, both were developed at the same time in Ilfotec LC29, which meant I shot the Kentmere 100 at ASA-200 and the Kentmere 400 at ASA-250. I also dragged my D750 with the 28-70mm f/2.8D lens. I'll be featuring images from all three items here today.

Minolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Kentmere 100 @ ASA-200 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Kentmere 100 @ ASA-200 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Kentmere 100 @ ASA-200 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Kentmere 100 @ ASA-200 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Kentmere 100 @ ASA-200 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20C

The March film of the month from Embrace the Grain is Kentmere 100, a film that I haven't shot since I last reviewed the stock. It's not a bad film by any stretch, but not one I shoot that often. But sometimes, it's nice to get out of your comfort zone when it comes to film stock. Plus, Kentmere is a Harman product, and they're good people over on the other side of the pond. I also took the chance to test out a new lens for my Maxxum 9, the 24mm f/2.8. I'm a sucker for a good wide-angle lens, and being right in the middle of downtown Toronto, I could take advantage of the wide-angle. I already have a 28mm f/2.8 for my Maxxum system, but sometimes you want something wider. And the film and lens didn't disappoint. Now I was also going to be shooting the second roll of Kentmere that day. I tried to develop both rolls simultaneously, so I under-exposed the roll by one stop, shooting it at ASA-200. The results were pretty brilliant, super sharp, with excellent tones and plenty of quality architecture throughout the area of the city I wandered through.

Nikon D750 - AF-S Nikkor 28-70mm 1:2.8DNikon D750 - AF-S Nikkor 28-70mm 1:2.8DNikon D750 - AF-S Nikkor 28-70mm 1:2.8DNikon D750 - AF-S Nikkor 28-70mm 1:2.8DNikon D750 - AF-S Nikkor 28-70mm 1:2.8D

It's funny because when I head out to take photos, the one camera I don't often grab is my D750 for casual work. Family, product, and paid gigs it's always number one. But I am a little more limited in time and dedicate Saturdays for film processing. So I can't grab and go and process the film now. So it was fun to take the D750 out into the city and do some shooting. For the lens, I went with my heavy-duty 28-70/2.8D, and I'm glad I did; the lens is excellent and works flawlessly on my D750. It also offered up the chance to not only capture the wide detail of the architecture but could get in fairly close to details. And it meant I didn't have to worry about not finishing off another roll and adding a splash of colour to my primarily monochromatic day.

Minolta Maxxum 9 - Minolta Maxxum AF 100mm 1:2.8 MACRO - Kentmere 400 @ ASA-250 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 100mm 1:2.8 MACRO - Kentmere 400 @ ASA-250 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 100mm 1:2.8 MACRO - Kentmere 400 @ ASA-250 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 100mm 1:2.8 MACRO - Kentmere 400 @ ASA-250 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 100mm 1:2.8 MACRO - Kentmere 400 @ ASA-250 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20C

Now Kentmere 400 is a film that I didn't get along with too well when I reviewed it, but I had the roll thinking that Kentmere 400 was the film of the month. But having a bit more time to kill, I decided to load it up and shot it at ASA-250, so over-exposing it so that the developing time in LC29 aligned with the Kentmere 100. But I also brought along my 100mm f/2.8 lens and felt that I should try some street photography. Now I'm not one to actively go out and take photos of strangers in the street regularly, but the mood, location and feeling hit me. My preferred kit is a bulky SLR and a short-telephoto or portrait-length lens for street photography. While not a setup that most street photographers would use, I want to make myself a bit more obscured into the background but have enough presence that if someone doesn't want their photo taken, they'll turn away or indicate so. And I had several people shake their heads or turn away, in which case I'll lower the camera and give a wave. Not a perfect system, but I also don't want to get in their faces or cause a disturbance. Overall I'm pretty happy with the results I got, and with these trips into the city being weekly for the next few weeks, I can certainly use the chance to enjoy some time in the city with a camera.

#photography #architecture #canada #city #ilfordilfoteclc29 #kentmere100 #kentmere400 #midweek #minoltamaxxum9 #nikond750 #ontario #streetphotography #streets #toronto #urban #walk

Toronto – Mid-Week

Heading into the big city is a rarity these days between no major events running yet and mainly shooting for review purposes and parenthood. My travel circle is limited these days, not that I'm complaining. But having a random mid-week trip into Toronto with a bit of free time allows me to get out, stretch my legs and camera gear and head out for some enjoyment of the craft. It also helped that I was again shooting for the Embrace the Grain film of the month challenge, which for March was Kentmere 100. So I packed two rolls of film, two cameras, and two lenses. In my bag for the trip was the Minolta Maxxum 9 with the 24mm f/2.8 and 100mm f/2.8 MACRO, a with a roll of Kentmere 100 and Kentmere 400, both were developed at the same time in Ilfotec LC29, which meant I shot the Kentmere 100 at ASA-200 and the Kentmere 400 at ASA-250. I also dragged my D750 with the 28-70mm f/2.8D lens. I'll be featuring images from all three items here today.

Minolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Kentmere 100 @ ASA-200 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Kentmere 100 @ ASA-200 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Kentmere 100 @ ASA-200 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Kentmere 100 @ ASA-200 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Kentmere 100 @ ASA-200 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20C

The March film of the month from Embrace the Grain is Kentmere 100, a film that I haven't shot since I last reviewed the stock. It's not a bad film by any stretch, but not one I shoot that often. But sometimes, it's nice to get out of your comfort zone when it comes to film stock. Plus, Kentmere is a Harman product, and they're good people over on the other side of the pond. I also took the chance to test out a new lens for my Maxxum 9, the 24mm f/2.8. I'm a sucker for a good wide-angle lens, and being right in the middle of downtown Toronto, I could take advantage of the wide-angle. I already have a 28mm f/2.8 for my Maxxum system, but sometimes you want something wider. And the film and lens didn't disappoint. Now I was also going to be shooting the second roll of Kentmere that day. I tried to develop both rolls simultaneously, so I under-exposed the roll by one stop, shooting it at ASA-200. The results were pretty brilliant, super sharp, with excellent tones and plenty of quality architecture throughout the area of the city I wandered through.

Nikon D750 - AF-S Nikkor 28-70mm 1:2.8DNikon D750 - AF-S Nikkor 28-70mm 1:2.8DNikon D750 - AF-S Nikkor 28-70mm 1:2.8DNikon D750 - AF-S Nikkor 28-70mm 1:2.8DNikon D750 - AF-S Nikkor 28-70mm 1:2.8D

It's funny because when I head out to take photos, the one camera I don't often grab is my D750 for casual work. Family, product, and paid gigs it's always number one. But I am a little more limited in time and dedicate Saturdays for film processing. So I can't grab and go and process the film now. So it was fun to take the D750 out into the city and do some shooting. For the lens, I went with my heavy-duty 28-70/2.8D, and I'm glad I did; the lens is excellent and works flawlessly on my D750. It also offered up the chance to not only capture the wide detail of the architecture but could get in fairly close to details. And it meant I didn't have to worry about not finishing off another roll and adding a splash of colour to my primarily monochromatic day.

Minolta Maxxum 9 - Minolta Maxxum AF 100mm 1:2.8 MACRO - Kentmere 400 @ ASA-250 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 100mm 1:2.8 MACRO - Kentmere 400 @ ASA-250 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 100mm 1:2.8 MACRO - Kentmere 400 @ ASA-250 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 100mm 1:2.8 MACRO - Kentmere 400 @ ASA-250 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 100mm 1:2.8 MACRO - Kentmere 400 @ ASA-250 - Ilford Ilfotec LC29 (1+19) 8:00 @ 20C

Now Kentmere 400 is a film that I didn't get along with too well when I reviewed it, but I had the roll thinking that Kentmere 400 was the film of the month. But having a bit more time to kill, I decided to load it up and shot it at ASA-250, so over-exposing it so that the developing time in LC29 aligned with the Kentmere 100. But I also brought along my 100mm f/2.8 lens and felt that I should try some street photography. Now I'm not one to actively go out and take photos of strangers in the street regularly, but the mood, location and feeling hit me. My preferred kit is a bulky SLR and a short-telephoto or portrait-length lens for street photography. While not a setup that most street photographers would use, I want to make myself a bit more obscured into the background but have enough presence that if someone doesn't want their photo taken, they'll turn away or indicate so. And I had several people shake their heads or turn away, in which case I'll lower the camera and give a wave. Not a perfect system, but I also don't want to get in their faces or cause a disturbance. Overall I'm pretty happy with the results I got, and with these trips into the city being weekly for the next few weeks, I can certainly use the chance to enjoy some time in the city with a camera.

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